If the Twin Peaks title sequence was set at night (and was actually the opening to Eraserhead) it would need a theme.
Peels of thunder, ripped straight from the collective consciousness’s memory of mid-century b/w horror (or alternatively as a reference to the greatest video game opening cinematic). A deep pulsing bass: both radar pings in the abyss and the prelude to soul grasping techno. Guitars that sound like the rusty haunting of train tracks, hidden amidst thick smoke from an indeterminate source. That sort of guitar sound that Michael Mann would make the cornerstone of a western (dear god the thought of that).
It’s the post-industrial sound of industry limping on. Deserted by the zeitgeist — which is more concerned with the esoterica of financial and digital worlds — this industry falls under an occult spell.
Y’know, the good stuff.