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https://embed.spotify.com/?uri= spotify:track:2kk3Lyl3HUNcNqNvfGGiYr Arrival ()

A very minimalistic, neo-classical soundtrack which is nothing but brooding and brooding, untill the sudden swell of the horns which die away as fast as they came. It's made of course for the suspense of the movie, but it holds up really well on it's own. And there are a few OST that can say that.

https://embed.spotify.com/?uri= spotify:track:4VuGSMfhHIOGM5yqybKo2G async ()

A mesmerizing though unsettling ambient record that really grips the listener. The soundscapes are much like the cover art; seemingly simple yet abstract, but take a closer look and you can see there is all kinds of stuff happening beyond first glance, or apprehension.

https://embed.spotify.com/?uri= spotify:track:0p8Jbs53i5XjDcUaXVuZVv Furious Angels ()

Rob Dougan is hurt, and he's mad, and he's got the tools to translate that into jazzy filmscore music. A raw voice with catchy hooks, makes for a formidable record. On multiple spins it becomes clear that all the classical instrumentation is 'fake', but in the trip-hop roots that shouldn't bother.

https://embed.spotify.com/?uri= spotify:track:274Ph8JhWaRdeSQTjTngGn Where at Night the Wood Grouse Plays ()

Empyrium made the most depressive black metal without the black metal. All acoustic, dark and haunting tracks. Full of tales of woe, silent forests and snowy nights. Gives me goosebumps.

https://embed.spotify.com/?uri= spotify:track:4gDrS1LE8jj2mLGd0M7v40 He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms ()

A smaller Godspeed makes for a more modest record (with equally long albumtitles). A sincere and tragic record which envelops as slow as possible by adding layers of radio-samples, tragic keys and strings. A desolate, lonely work. Magnificent.

Messe I.X-VI.X () Aventine ()