Anna von Hausswolff’s The Miraculous (Other Music) is a sprawling, glittering marvel of texture and architecture. It’s a questing, yearning record of a sometimes quixotic journey to connect with something more.

At the core of von Hausswolff’s new record are three songs topping out at more than eight minutes each. The opener, “Discovery,” surges out of the gate with three minutes of rippling, overlapping organ drone before drums burst into the foreground. This forward motion splits and flows into echoes and fraying effects before congealing again around a clean guitar and Anna’s silken voice looking for a body to inherit. That voice turns into an exhortation to “run,” the word repeated continuously before morphing into “sun” as the track drops into darkness and leaves an invisible tremor. “Come Wander with Me” starts with organ used in a dry, distant church-like manner, blanketing and shadowing Anna’s voice as it moves between her registers like a heat-seeking missile. Sludgy guitars and drums set up a smoke-laden groove and accumulate weight behind that razor-sharp voice as everything continues orbiting, chasing that perfect, specific feeling. This masterful track conveys a real catharsis never quite indulged and a transcendence left ambiguous as it slips out of the listener’s grasp. Nothing’s ever quite wrapped up. The title track plays with drone more fully than anything else here, letting warm tones slowly expand and snowball. Von Hausswolff’s voice dances with that exquisite organ, just on the periphery of one’s ear being able to make out the words.

Of the shorter tracks, “Pomperiossa” uses the organ and the voice like sheets of still-cooling glass, shimmering and distorting one another. Dramatic washes of cymbal underpin direct but oblique lines like, “My heart is sad and ugly. Am I boring you? Am I scaring you? My love is strong.” The narrative is chopped up and upended. This disorientation and shifting grasp of real understanding is used to great effect in the grime-caked “Evocation,” with von Hausswolff singing of “spirits… coming closer now.” With a loping two-step rhythm, the Nino Rota–esque “Stranger” is a clearer picture, but only by degrees. Its more conversational singing still doesn’t give the game away, but ends the record with a sly wink and a more human face than on the great mysteries explored herein.

Throughout The Miraculous, von Hausswolff achieves something ineffable and rare in pop music: the album is genuinely mystical and mysterious without platitudes, explanation, or veering into sap. This is a work of immense intelligence that trusts the landscape it’s built and the listener who enjoys it enough to leave parts artfully unlit.