One of the first movie soundtracks I ever loved, that wasn’t strictly pop music, was the soundtrack to Michael Mann’s Heat. Moby, U2, and Brian Eno do make appearances, but vocals are kept to a minimum. The music is mostly hauntingly beautiful, with occasional forays into tense discord. Rarely do film and music link up so well together. Mann’s film is full of shades of blue, modern and sleek. The music has the same sleekness, full of ambient soundscapes that recall a city in the wee hours of the morning. The music rarely tells you how to feel. It is instead full of wonder, opening the door to a higher emotional state. The same piece may be lonely, beautiful, or tense, depending on the mood that you listen to it in. Above is a Michael Brooks instrumental called Ultramarine. It is a good piece to listen to because it features several elements that appear elsewhere on the soundtrack. It has percussive textures like Brian Eno’s Force Marker, a beautiful theme like Moby’s God Moving Over the Face of the Waters, and an overall ambience to it like much of the soundtrack.