An important aspect of the film is the soundtrack, composed by Jan St. Werner, John Colpitts and Andrew Barker. Focusing on the sculpture at the center of the film, the work draws an analogy between its suspended shapes and musical notations. The formal affinity between the sculpture and a percussion instrument precipitated the composition of the soundtrack. There is an intertwining of materiality and sound that functions as a subtle synaesthetic suggestion: percussion dominates with views of the spinning discs of Untitled, while a certain howling, whining sound coincides with details of metal scraps.

“The music was improvised while watching the film which was centered around Untitled,“ the soundtrack’s author explained recently, continuing „A sparse instrumentation (computer by Jan St. Werner, drums by John Colpitts, bass clarinet by Andrew Barker) was chosen to reflect the distinct choice of materials for that object but also material in Calder’s studio. The idea was to reflect the kinetic relationship between the parts, high lighten the silence and space/landscape around them and open up new associations between them.“