Beyond Beyond Is Beyond is a record label that has become adept at curating artists for a very specific roster. These artists tend to not have the typical "Brooklyn" sound; what critics usually associate with Brooklyn tends be a trendy "indie" sound, BBiB eschews for a deeper dive into all...

Another year of our favorites in Top Album Cover Artwork, and once again, we interview musicians and artists on the often-underappreciated work that goes into creating a product that not only tickles your ears, but speaks to your eyes and hearts. Album artwork, though often only viewed on tiny screens...

It's that time of year again: the time where I remind everyone just how rapidly consciousness has been evolving in such an amazingly short period of time. The good news there is that the entire point to technology is to serve art. We'll figure it out eventually. It should be...

Travel with Midday Veil for eight minutes, into the pixelated fractal universes of "Within and Without". Premiering today on REDEFINE in anticipation of the Seattle band's upcoming west coast tour with Swahili, this music video is shot and edited by the band itself, as tends to be their modus operandi. What is perhaps most exciting here is not necessarily each individual shot itself -- for though highly processed, they are pretty mundane at their core; instead, what is to be celebrated are the transitions, which live up to the wax and wane of the title, the ebb and the flow of the track's oceanic imagery. Floating overlays and smooth washes of lo-fi patterning are sprinkled with just a touch of glitch, to make one forget the images from which they originally evolved. (And this is all to say nothing of synth warlock wizard David Golightly's seriously awe-inspiring cult leader robe, which naturally adds its own inexplicable charms.) Music video and full list of tour dates below, beginning tomorrow evening in the great northern lands of Bellingham, Washington, and expect records from both of these bands, coming out next year on Translinguistic Other.

Year four of REDEFINE's Unofficial SXSW 2014 parties finds us in Austin with some changes: one stage was whittled down to two, with unbelievably excellent results, and we brought in a new collaborator at XRAY.FM! The things that remained constant were the ~1,500 free beers from Dos Equis, good vibes,...

To pay proper homage to the musical grandness of 2013 and to usher in the new year 2014, we've once again decided to call upon our tastemaker friends to compile their favorite up-and-comers throughout the Pacific Northwest. Here, James Scheall, Cameron McCreery, and Katherine Humphreys of Seattle's stylish boutique shop and venue Cairo throw out their wide-ranging picks for Seattle bands to watch. Those who are interested in the Portland scene can also check out the list compiled by the innovative nightclub, Holocene, here.
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Cock & Swan __ soundcloud.com/cockandswan

Cock & Swan’s Ola Hungerford and Johnny Goss are a couple of weirdos making beautifully intricate, often kaleidoscopic pop music. Layers of analog synths and bass guitar provide a hazy, warped framework for Hungerford’s subtle, dreamy vocals to build on. Their 2013 LP, Secret Angles, sounds like something you’d find under a stack of scratched-up Boards of Canada and Broadcast CDs, in the best way. Trippy in the least annoying way possible. - CAMERON MCCREERY

Black Hat __ blackhat.bandcamp.com/album/covalence-ep

Nelson Bean's music as Black Hat exists somewhere in the strange, hazy middle-ground between dance music and noise. Harsh drums and lurching bass give way to droning synths and eerily beautiful melodies in a constant vortex of sound. There is a definite darkness to Black Hat’s music, but it’s more than just a gothy occult obsession; there is a very natural, very real darkness at work here, one that will draw you in and never let go. Hypnotic head nods 'til the end. - CAMERON MCCREERY

La Luz __ laluz.bandcamp.com

Melancholic oohs and ahhs drift sweetly from rain to the Puget Sound, sung by the harmonious spirits of La Luz, who are taking the foggy beaches and rainy side-streets of Seattle by storm. Not only can they hang ten with their epic surf rock shredder tracks, but they've somehow have perfected the balance of drifter sadness and hilarious campiness. Not to mention, they totally survived an insane car accident and have bounced back like it’s no one’s business. Pick up their cassette via Burger or their LP via Hardly Art. - KATHERINE HUMPHREYS
A lot of the problem with viewing the universe as being comprised of matter comes with the idea that it's devoid of conscious experience somehow. More and more, little by little, we're starting to wake up to the insane limitations of this philosophy. Renders people humorless if you ask me. Nothing adds up, which creates profound existential desperation resonating throughout the collective psi-grid of humanity. There is no explanation for why anything happens, so we instead focus on how things go down in obsessive detail. Not to knock this approach, as it creates order by combining with the mystical chaos of internal infinity. Too much mystic psychic sizzle and you'll get torn to shreds, but when you look at only shared perceptual experience, you're editing out the vast majority of reality. It's all dark matter through those eyes. Endless blacked out pages on a declassified UFO report. What I've found is that by shifting models of reality interpretation just slightly from conceiving the world as being made of matter to one comprised from conscious experience, coherent macro concepts of conjoined narratives learning lessons throughout cycles of shifting lifetimes starts to take shape (which I talk about all the time on Facebook; friend me). When you start looking at things through the neo-Occult lens regarding the meaning of our existence as participants in a small cog of a much larger 5th dimensional art creation device, things begin to click into place on an even deeper level. Try it; it's fun. What works about this model is the fact that art is getting more plentiful and expansive by the day. Whether or not that was the purpose, that's what's happening. The average person now spends their time lost in a greater collective imagination in a way that wasn't even possible a decade ago. We've entered the era of the information addict. We're turning ourselves increasingly inward and tying together disparate narratives without asking why we're so unconsciously compelled to veer in that direction. I'm more helplessly entrenched than anyone, spending my time existent in my own celestial enclave of sonic enchantment. Fact of the matter is, more people are taking psychedelic drugs at this point in history than ever before. The loosening of the pot laws is just going to ensure that trend continues to spike upward. Unsurprisingly, this has created a congruent upsurge in fantastically brain-altering tunage. I can't even begin to keep up with it all, and I'm an obsessive music weirdo. For all intents and purposes, there are an infinite number of great albums being made every single year, but I'd say Joe Sixpack isn't truly aware of that fact. I can't imagine any of the records on this list sold a ton, which is sort of the problem and why you need geeks like me. Next time you want to trip out on the weekend rather than getting blitzed drunk, go pick up any of thesem and they'll serve to lift you on high rather than binding you to the lower dimensions. Now, I almost apologize, because there really should be more trip-hop and electronic freak outs on here in general -- that's where drug music is heading and has been since I was a kid. But I've listened to a lot of the higher profile releases this year and most of it was decent, and little of it struck me as sufficiently psyche-warping. I've got to dig deeper next year. I will say that Seattle's Debacle Records consistently brings the strange vibes (Editor's Note: See the mixtape they made for us earlier this year) -- and as if intentionally living up to our newly minted west coast weed city status, more great psychedelic albums came out of Seattle this year than ever, so this list is also a bit heavy on that because no one else is really talking about it. You've been warned.
Out with the old, no matter how good it is! Here's our comprehensive list of Top Albums of the Year 2013, schizophrenic as always to reflect the diverse tastes of our staff, though there is some overlap. It's highly recommended you check out every release here, as each has its own creative strengths.
Matthew Carter - electronic, experimental, metal, pop, rock Vivian Hua - dance, indie, pop, psychedelic, soul Troy Micheau - classical, electronic, experimental, instrumental Judy Nelson - dance, electronic, indie, pop, psychedelic, soul Elizabeth Perry - indie, mainstream, pop, rock Peter Woodburn - classical, instrumental, metal XUA - electronic hip-hop, mainstream, pop Albums of the Year 2013
The sixteeth installment of Experimental Portland's on-going concert series took place at Rotture on a humid Wednesday night, and for $5, featured an amazing lineup consisting of Midday Veil, ALTO!, and Antecessor. I apologize to the internet and myself for having missed what was supposedly an amazing set by Antecessor -- but the remainder of the show was inspiring enough for me to unexpectedly pen a few words!
September 11th, 2013 @ Rotture in Portland, OR

ALTO!

I'd never before heard of ALTO!, but the three-piece band is certainly the impetus for my writing this; I just can't resist documenting a visually mind-stirring music. Encompassing musical tendencies both spontaneous and controlled, ALTO! manage to strike a balance between eardrum-destroying noise and muted hypnotism with ease. Beginning with an extremely minimal intro, hardly perceptible, ALTO! slyly beckoned the most curious of minds towards the stage while others chatted on, unaware the set had begun. It was a meditative hello, a subtle glimpse into the type of hypnotic reveries ALTO! are alluding to, even though such glimpses may ostensibly become lost in their most full-on and guitar-shredding moments. From there, the next track increased in speed and density to form bizarrely danceable music -- though only for those who like strange time signatures and drum-heavy cycles in sound. It was in one particular moment of letting up -- in ALTO's most subtle moment of repetition -- where I found the most fascination, in the form of a single guitar line adorned by the two percussionists on opposite sides of the stage. One had a shaker in hand while the other chimed a bell, both repeating in his particular pattern as though on a timer. Their sounds were satisfying, certainly -- but even more satisfying were the moments preceding each sound, where both drummers moved like wound-up toy soldiers, clinking and clanking with the same repeating series of arm movements or head bobs. Moving into the following track, they left behind their trance-states to join more involved ranks, transforming from mere toys into military drummers flanking a perfectly stage-centered guitarist general. Together, they led showgoers on a journey through the Middle Eastern desert, greeting Barn Owl, Om, and Swans along on the way.