An uncomfortable, eerie, and remarkably beautiful accompani-
ment to the dramtisation of one of the greatest human
tragedies in recent memory. When given the task, Hildur spent time in a power plant
in Lithuania, immersing herself in the cavernous, concrete halls
with humming, whirring machinery rumbling in the background, while
barely audible frequencies dart in and out, and she was able to construct
the music by using these sounds set with stark, minimal instrumentation.