The prolific French producer has released some of the year’s best dark ambience.

The “chill-hop” producer blends hip-hop beats, melancholy atmospheres, jazzy riffs, and other elements for supreme chill-out material.

The duo’s final album combines black metal and shoegaze to brutal, yet beautiful effect.

The band’s first release in a dozen years boasts a heavier, more expansive sound.

Inspired by classic horror soundtracks and ’70s educational films, Young Hierophant crafts otherworldly (yet catchy) electronic music.

Joost Kraaijenbrink’s whimsical indietronica sometimes blurs together, but it also contains numerous delights.

A sense of great care and precision always permeates The Green Kingdom’s music.

Gavin Miller’s latest mines the same sort of “nostalgist” sound as artists like July Skies and Epic 45.

If you’re in the mood for music that works best if you just close your eyes and let it drift you away, then this is for you.

A rousing, strongly principled adventure story that I would’ve loved to read back in 5th grade (but I still enjoyed it as an adult).

Mary and the Witch’s Flower could easily be mistaken for a classic Studio Ghibli film, and that’s not a bad thing.

While frequently billed as a horror movie, that term actually undersells this movie.

Some of the most challenging music of Low’s career, but also some of the most daring, intriguing, and rewarding.

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.

Chakraborty’s novel finds inspiration in Islamic and Middle-Eastern religion and culture for its exotic world-building.

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

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.