Minimalist industrial punk; the return of a shoegaze legend; dreamy inter-dimensional post-punk; and darkly lush pop from Germany.
Vertical Comics’ excellent reprint captures all of the engrossing and unsettling detail in Nihei’s intricate artwork.
It’s passable late night entertainment but with a script that made better use of its ideas, it could’ve been a lot more.
Dark-tinged folk balladry, spacey techno from Iceland, goth-y psychedelia, and stripped down post-rock.
The latest from Wit Studio and Tetsurō Araki is a gruesome, action-packed series featuring human-devouring monsters and steampunk samurai.
Autumnal dream-pop, cosmic electronic music, impeccable Swedish pop, and the final Circle of Dust reissue.
Ominous synth music, playful electronica, beautiful dark ambient, Swedish psych-rock instrumentals, and elegant emo.
There’s some very weird music to be found in Unknown Tone’s catalog, but that same music is frequently beautiful and intriguing as well.
Tomohiko Itō’s latest anime is rooted in tragedy, loss, and a search for restoration and redemption… and time travel.
Yes, this Minnesota quintet sounds a LOT like Joy Division but their self-assured music ultimately transcends such easy comparisons.
The Midnight’s take on ’80s pop is packed with synthesizer goodness — and blazing guitar and sax solos galore.
Dixon and Stein have composed a rich, evocative score that brings the world of “Stranger Things” to life all on its own.
Bvdub’s music is euphoric enough for any discothèque but its true appeal lies in its moody, contemplative aspect.
Though created by two vaporwave luminaries, this album’s best moments transcend that genre’s aesthetics.
For over two decades, Jason Martin’s “blue collar” approach to music has resulted in an impressively reliable discography.
A wonderfully direct and captivating album, though it’s somewhat hampered by some muddled production.
Wintry darkwave, glorious orchestral-folk cacophonies, sleepy urban soundscapes, and vaporwave muzak.
Disasterpeace’s evocative soundtrack is reason enough to play “Hyper Light Drifter.”
Leave it to a guy from Denmark to compose the perfect soundtrack for driving across the Nebraska prairie.
Lush’s first release in two decades contains nothing all that groundbreaking — but why would it need to?