In the late ‘80s, before Paul Haslinger became known for his soundtracks, the Austrian musician was a member of Tangerine Dream, ambient pioneers known for otherworldly drama. His own work is equally atmospheric: “Eternity and a Day,” from his Underworld score, pairs ambient sound-sculpting with lyrical piano and sneaky theatrics; “The Silver Moon,” from 2018’s Wilding, shapes similar sounds into a more hushed form. Away from the screen, solo and alongside artists like Fennesz, Haslinger’s music remains filmic, swirling the acoustic with the electronic into moody, shape-shifting abstractions: dark clouds lined by silvery emotion.