After all, grief isn’t rational or given to nice, neat organization.

A mercurial album that offers fresh spins on various genres thanks to its eclectic instrumentation.

Jóhann Jóhannsson’s final work is this adaptation of a 1930 sci-fi novel about the end of humanity in the distant future.

This lovely little album by harpist Nailah Hunter stands in stark contrast to these chaotic times.

Tholen’s first album in four years finds him pondering marriage, being an artist, and the mysteries of God’s divine will.

While certainly not everyone’s cup of tea, I consider this one of 2017’s most fascinating and compelling albums.

The gently unsettling aspects of Nico Niquo’s ambience makes it all the more beautiful and intriguing.

Autumn Is the End sounds like the penultimate spaghetti western soundtrack.

For all of its artificiality, there’s very little that’s cold, clinical, or merely “academic” about Platform.

For all of their engineering, programming, and whatnot, it’s to Silver’s credit that these songs never seem sterile or artificial.

This is the sound of musical equipment being tortured and pushed to its limits until the envelope isn’t just breached, but rather, punctured, shredded, and burnt to a crisp by the exit velocity.

The Low Drone of Earth may be Tholen’s darkest album to date, but it’s also one of his most successful and well-realized.

The album continues Tholen’s streak as a fine purveyor of weird, fascinating music from the fringes of Christendom.

It’s difficult for me to listen to these songs and not imagine that I’m listening to music culled, in some fashion, directly from the duo’s long-lost childhood memories.

Tholen’s latest is another fine example of his “Christ-centered chipwave.”

A lovely blend of warm, earthy folk and left-field experimental music.

What if Anamanaguchi, Susumu Hirasawa, Ronnie Martin, and Sufjan Stevens got together and made a chiptune gospel album?

A meticulously crafted album that straddles the lines between jazz, folk, and psychedelia.

“All Delighted People” contains some of the most ambitious music Sufjan has recorded to date, but it’s still just as heartfelt and poignant as ever.

Put simply, Wind’s Poem is the most haunting album I picked up in 2009.