The album’s blurred washes of ambience conjure a sense of growing dread — but there’s beauty to be heard, as well.

Nostalgia-laden pastoral post-rock, artistic post-hardcore, raging feminist post hardcore, and a cosmic horror soundtrack.

These albums are a fascinating glimpse into a realm of Christian music that most people probably never even knew existed.

Pastoral post-rock, ominous-yet-lovely electronic, contemplative electro-classical, krautrock-inspired cinematic music, and glassy dreampop.

A good reminder that The Cure really have released a mind-blowing amount of amazing music over the years.

The Council’s latest takes the Ghost Box aesthetic in more straightforward — though still odd and otherworldly — directions.

The Mary Onettes return with more dreamy pop, Mondo Grosso delivers euphoric electronica, and Pure Bathing Culture cover The Blue Nile.

The music of artists like Toshiki Kadomatsu sounds utterly disposable but I can’t get enough of it these days.

Despite being critical to U2’s artistic development, their 1984 album often seems sadly overlooked.

Classic-sounding goth pop, hazy dreampop, synth-only Smiths covers, and vintage Japanese cinematic funk.

The new songs exchange the trio’s storied “slowcore” sound for something harsher and more experimental.

The trio’s blend of soul, surf, and ’60s Thai funk is on perfect display in this Pitchfork Live performance.

This collection of dreamlike yet unsettling ambient music is one of Dream Catalogue’s best releases in recent memory.

Mortal was the first band that showed me that Christian bands could hold their own with secular artists.

I was completely spellbound by Low’s stripped down, sparser-than-sparse sound.

This album was a constant companion during a long period of heartbreak and doubt.

This is an album in which I still find peace, relief, and inspiration to this day.

Put simply, no album feels more like high school to me, for better or worse, than Wish.

Sleek ethereal pop, serene drones, South Korean dreampop, and lush indie-folk.

The band’s simple, sparse performance is sublime.