The Length of the Rail is a beguiling listening experience that rewards repeat listens.

There’s an interesting story behind the new album’s title.

Aerial Days is full of tiny shimmering moments of beauty.

Richter’s music is perfectly suited to the themes of loss, nostalgia, and alienation that permeate Haruki Murakami’s work.

There’s a rawness and youthful recklessness that never fails to render their music beguiling, even at its loudest and most abrasive.

The album’s awkward-yet-earned shortcomings, much like its audio imperfections, only make it more affecting.

New titles are coming from The Twilight Sad, Songs of Green Pheasant, and Max Richter.

Max Richter’s compositions possess an arresting and singular beauty.

If loving Animal Collective is wrong, I don’t want to be right.

Even with the album’s obvious flaws, Summer Make Good is certainly no reason to write off or dismiss Múm.

Compared to the celestial heights that Ágætis Byrjun strove for, ( ) feels remarkably restrained. But in its own way, far more ambitious.

Throughout Finally We Are No One, Múm never lets you forget that live, starry-eyed, wonder-filled humans are behind the music.

You get the feeling that, in order to truly appreciate this music, you need to see the movie.

Songs like these belong in movies at those pivotal scenes when someone has a religious experience, when long-lost lovers are finally reunited, or when someone is brought back from the brink of death.

I am here to say that Sigur Rós lives up to everything you’ve ever read or heard about them.