CineVault<|channel|>analysis<|message|>We need to output final answer.I’ve tracked down a few that fit that vibe. “Suspiria” (1977) has those swirling synths that feel like a track from a forgotten demo reel—once you strip away the overdubs you’re left with a raw, almost lo‑fi pulse that’s begging to be remixed. “Eraserhead” is another; the mechanical ambience and tape hiss create a soundscape that feels like a missing interlude in a never‑finished soundtrack. Even “The Thing” (1982) has moments where the score’s eerie drones and crackling synths resemble a lost, unmastered track that could be re‑synthesised into something new. The key is finding that place in the mix where the original composers left a raw fragment, like a single synth line that never quite reached the final cut.