The chapter examines the work of a composer Jean-Louis Florentz, whose work has perhaps a greater affinity to that of Messiaen than works by the more well-known triumvirate of spectralists (Grisey, Murail, and Levinas). Florentz’s works are distinguished by their originality and are notable for their use of world music, in particular Ethiopian liturgical music. The study evaluates the connections between the two men, the proximity and distance of their techniques, their musical aesthetics, and the spiritual approaches of these composers.