This book offers a theological analysis of post-rock music and explores how secular instrumental music creates liminal spaces for divine encounter without requiring traditional religious contexts. Using the Icelandic band Sigur Rós as a primary case study, the author demonstrates how distinctive musical characteristics—non-lexical vocalisations, atmospheric soundscapes, and innovative instrumental techniques—create contemplative environments that parallel traditional spiritual practices while transcending conventional religious language. The book engages critically with current music theology, moving decisively beyond logocentric approaches, as well as the thought of Schleiermacher, Otto, and Tillich. It integrates personal narrative and develops analytical tools specifically suited to understanding instrumental music’s theological significance. The theoretical framework employs concepts of ‘divine resonance’ (music’s sacramental capacity to mediate transcendent encounter), ‘musical liminality’ (threshold spaces where sacred and secular converge in sound), and ‘sonic sacramentality’ (how instrumental composition functions as spiritual mediator without linguistic content). This will be of interest to scholars of theology and religion as well as music and popular culture.
