[Tall Guy]

Morricone has plenty of this type of music in his catalogue. As well as the genuinely spiritual stuff in his various scores to films about popes, the original “What Dreams May Come” and similar, you can find tangentially religious tracks in Moses the Law Giver and The Mission.

There’s also grotesquerie in The Temptress (Il Sorriso del Grande Tentatore) where liturgical chanting merges with hard rock and abstract jazz.