The band members Faris Badwan and Rachel Zeffira, received the script for The Duke of Burgundy and wrote music for individual characters and themes.

[4] The duo further takes inspiration on how classical composers use lot of dissonance, as "ugly becomes beautiful", where Badwan admitted watching Miles Davis' performance on YouTube, he felt that "even when the music's really inaccessible he's still incredibly magnetic because he just looks like a complete psychopath".

Badwan and Zeffira watched the film several times to note down specific scenes to follow and subtle moments to draw attention to, which was different from a normal album.

[9] In his five-star review for The Guardian, John Dennis summarised "Orchestral textures, such as the eerie woodwind motifs of Moth and austere strings of Lamplight, conjure the darkly sexual charge of the film.

"[13] A reviewer, from the now-defunct Q summarised "The gauzy production effects on Lamplight are among the few concessions to modernity, though the opening credits theme proper—where Zeffira breathily channels chanteuse Francoise Hardy—is hauntingly gorgeous."

Sean Wilson of MFiles commented "a skilfully atmospheric, beautiful and emotional score that honours an oft-overlooked era of film music whilst forging its own distinct identity".

The film is an arthouse slow burner, critically acclaimed but unlikely to pull much of an audience, while the score is by two composer/instrumentalists who most of my readers are unlikely to have even heard of, let alone considered purchasing music by.

With the harpsichord and flute instrumentation setting the imagery, the electronic and classical backgrounds of the respective members has resulted in a soundtrack fraught with eerie claustrophobic tension and emotional substance.

The review complimented it as "a lush, organic sonic scape, with prominent harpsichord, flute and oboe that fits the very particular world that Strickland has created like a glove.