Aphex Twin

I have a similar relation to vocals sometimes so would be interested to hear what you listen to.

Kronos Quartet's The Beatitudes

Rachel's Water From The Same Source

Arvo Part's Fur Alina and Spiegel Im Spiegel

Ludovico Einaudi's stuff generally.

Quite a lot of Joe Hisaishi's stuff. The piano version of EVE was a big one for me years ago, but there's lots of different types in his music.

Most of Dirty Three's Whatever You Love, You Are album.

David Lang's World To Come IV

Ennio Morricone's best stuff also.

Some neat instrumental math rock bands are: Covet, Clever Girl, Toe. Also check out Graham Connah's Sour Note Seven! I don't really know how I would describe this one besides maybe comparing it to some of Frank Zappa's later stuff.

• Further listening of Sour Note Seven made me realize it's not strictly instrumental but a most of the songs I've heard are, or the vocals are used minimally. The song Writhe has been a recent fav of mine.

I like quite a large collection of 'instrumental,' music:

Black Sun Void

Kodiac

Pelican

Russian Circles

Bohren & der Club of Gore

How To Disappear Completely

William Basinski

AND OF COURSE CELER

Way too many to name.

I'm by no means particularly into orchestra, but I do enjoy listening to anime ost and a couple classical pieces - irregularly.

Not a soundtrack thing, but I like this piece a lot: Rachmaninoff: Piano Concerto No.3, Movement I

It should be in a movie.

yes! here are my favorite classical pieces:

danzon n 2 by arturo marquez

Fossiles and aquarium by camille st saens.

Also wanna recommend this just simply due to the sheer creativity in creating such a piece. It's not exactly 'instrumental,' but still!

https://monoskop.org/Arseny_Avraamov#Symphony_of_Sirens_.281919.E2.80.9323.29

As part of his desire to remind the proletariat of their true role - their power to decide their own history - Avraamov conceived a monumental proletarian musical work for the creation of which he would use only sounds taken directly from factories and machines. To this end, he organised several monumental concerts, which he called Symphony of Sirens [Simfoniya gudkov, Гудковая симфония], inspired by the nocturnal spectacles of Petrograd (May 1918) and by the texts of Gastev and Mayakovsky. He eventually took these concerts to a number of Soviet cities celebrating the anniversaries of the October Revolution: Nizhny Novgorov (1919), Rostov (1921), Baku (1922) and finally Moscow (1923)[22]. The most impressive and elaborate of these concerts was held on 7 November 1922 in the harbour of Baku in Azerbaijan. For this, Avraamov worked with choirs thousands strong, foghorns from the entire Caspian flotilla, two artillery batteries, several full infantry regiments, hydroplanes, twenty-five steam locomotives and whistles and all the factory sirens in the city. He also invented a number of portable devices, which he called Steam Whistle Machines for this event, consisting of an ensemble of 20 to 25 sirens tuned to the notes of The Internationale. He conducted the symphony himself from a specially built tower, using signalling flags directed simultaneously toward the oil flotilla, the trains at the station, the shipyards, the transport vehicles and the workers' choirs . Avraamov did not want spectators, but intended the active participation of everybody in the development of the work through their exclamations and singing, all united with the same revolutionary will. Avraamov reflected on the potential of music, and the influence of the sounds that define our environment - their importance and the role they had to fulfil after the October Revolution - an aspect of his thinking which helps us to understand the ultimate meaning of the composition of the Symphony of Sirens:

"Music has, among all the arts, the highest power of social organisation. The most ancient myths prove that mankind is fully aware of that power (...) Collective work, from farming to the military, is inconceivable without songs and music. One may even think that the high degree of organisation in factory work under capitalism might have ended up creating a respectable form of music organisation. However, we had to arrive at the October Revolution to achieve the concept of the Symphony of Sirens. The Capitalist system gives rise to anarchic tendencies. Its fear of seeing workers marching in unity prevents its music being developed in freedom. Every morning, a chaotic industrial roar gags the people. (...) But then the revolution arrived. Suddenly, in the evening - an unforgettable evening - a Red Petersburg was filled with many thousands of sounds: sirens, whistles and alarms. In response, thousands of army lorries crossed the city loaded with soldiers firing their guns in the air. (... ) At that extraordinary moment, the happy chaos should have had the possibility of being redirected by a single power able to replace the songs of alarms with the victorious anthem of The Internationale. The Great October Revolution! - once again, sirens and work in the cannon whole of Russia without a single voice unifying their organisation".

Keith Jarrett's Koln Concert

Tchaikovsky's Symphony No. 6 - Pathetique

Almost anything by Mahler

Miles Davis's 'Round Midnight

Yep - I also really like Apocalyptica.