While Walker’s contributions to the Vox Lux soundtrack album were his last overall creative efforts, his own final full album before that was similarly a soundtrack, a half-hour collection of instrumental orchestral pieces accompanying Brady Corbet’s Sartre adaptation about a dictator’s early youth. Given Walker’s own long running meditations on fascism it was an understandable pairing; ranging from the melodramatic blasts of “Opening” to the precise tension of “Boy, Mirror, Car Arriving,” he delivers with feelings of repressed energy exploding.