Available in Audiophile 352kHz/24bit, 192kHz/24bit, DSD 5.6MHz & DSD 2.8MHz

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Album Name Length Format Sample Rate Price
Beyond 1:28:58 $24.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Qui tollis 09:48 192/24 Album only
2 Aura (Version for Percussion Quartet) 06:13 192/24 Album only
3 Memory Palace: I. Harriman 03:19 192/24 Album only
4 Memory Palace: II. Power Lines 04:50 192/24 Album only
5 Memory Palace: III. Foxhurst 05:04 192/24 Album only
6 Memory Palace: IV. L.I.E. 04:23 192/24 Album only
7 Memory Palace: V. Claremont 03:58 192/24 Album only
8 Fear-Release 08:47 192/24 Album only
9 I Hold the Lion's Paw: I. - 02:43 192/24 Album only
10 I Hold the Lion's Paw: II. - 06:52 192/24 Album only
11 I Hold the Lion's Paw: III. - 05:07 192/24 Album only
12 I Hold the Lion's Paw: IV. - 04:16 192/24 Album only
13 I Hold the Lion's Paw: V. - 05:12 192/24 Album only
14 I Hold the Lion's Paw: VI. - 01:51 192/24 Album only
15 I Hold the Lion's Paw: VII. - 07:00 192/24 Album only
16 I Hold the Lion's Paw: VIII. - 02:19 192/24 Album only
17 I Hold the Lion's Paw: IX. - 04:11 192/24 Album only

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℗ 2017 Sono Luminus
© 2017 Sono Luminus

Beyond is a remarkable epic in which space and time are stretched on and on, over and past the horizon. At once alight and sparkling with a seemingly inhuman precision of touch and in the same moment also a freedom that rarely comes from such precision. The quartet sounds in moments as if they are playing directly on the wood of the table a listener is listening from, their synchronized sounds wrapping with immense clarity around the ears of the listener. And yet, with their elegant facility the quartet captures a depth of subtlety in interlocking sounds over a great distance — each player down the road and far, far away. As the album moves on, the quartet’s touch makes one instrument become another. As if in a maze of mirrors, this occurs more and more often until one wonders, and then has no idea what particular instrument has left its reverberation hanging in the room. A vibraphone is a steel pan. A guitar, a harp. A triangle, a star pulsating with the pins of electric energy. 

While the lines between pieces could easily blur, each composer speaks with a clarity of intention that is totally unique. Bjarnasson’s Qui Tollis spans an incredible arc, emerging from the contemplative space of the works around it, brimming with the bashes and tumbles of bass drums, and then seemingly too early, vanishes again into a lull and rhythmic groan. With Fear - Release, Reid takes us into a world of metallic voices, as if we’re listening to a rubbed piece of crystal from inside the gem itself. It’s rare that a piece of music seems to truly sonically shine, and Reid’s piece accomplishes this brilliance early and often. Thorvaldsdottir’s Aura is the wind, the sand in the wind, and the wind chime hanging from the wood on the old falling-apart porch all at once. It speaks multitudes, and miraculously all upon the quiet edge of audibility. The expanse of McIntosh’s I Hold the Lion’s Paw is that of a twelve-hundred page novel, in which each page has less than a half dozen words. Its sprawl is scrolled out like a web in air, as the quartet communicates effortlessly with one another across a cavern of distance. In one moment they sit still in space, another they rattle endlessly like the earth; they arrive where we are, simply putting musical puzzle pieces together. With Memory Palace, Cerrone creates rooms of sound, each drenched in a subtle hue. In the rooms of this ever-expanding house we find ourselves drinking different air, buzzing with pop, hiss, and click, and lingering with a guitarist who could be inside the guitar itself.

The album — made with producer Dan Merceruio and engineer Daniel Shores, blazingly brilliant creatives in their own right, and longtime label partners Sono Luminus — shows LAPQ at its finest: endlessly versatile, sonically considerate, curatorially wise, and brilliantly electrifying performers. Beyond brings the world to LA, and LAPQ out into the world.


NPR’s 100 Best Songs of 2017

"One of the most distinctive voices in contemporary music, Anna Thorvaldsdottir writes luminous works, flush with expressive sounds and textures. "Aura," arranged specifically for the incisive Los Angeles Percussion Quartet, seems to radiate from the primordial landscapes of her native Iceland. Vibraphones are bowed, bass drums are massaged and metal tubes sound out a muted theme, all in the service of creating a penetrating, crepuscular atmosphere — in a word, an aura." -Tom Huizenga (NPR)

NPR Music's Top 10 Classical Albums Of 2017

"Throughout five compositions spanning almost 90 minutes, one barely realizes it's just four guys banging on things. Beyond is — beside a deep listening experience — "beyond" your standard percussion ensemble album. It's also a great introduction to some of today's most distinctive young composers...For those wary of albums by percussion ensembles, Beyond is an immensely satisfying place to jump in." -Tom Huizenga (NPR)

A Fool in the Forest's Listening Listfully 2017

"There is a good argument to be made that the U.S. is currently in something of a Golden Age of Percussion Ensembles. In composition and in performance, the music on this two-disc set is roughly as good as contemporary percussion music gets." - A Fool in the Forest

Second Inversion's Top Albums of 2017

"LAPQ’s Beyond pushes the boundaries of what a percussion ensemble can do, with a healthy dose of ambient-leaning music combined with a smaller measure of perhaps slightly more familiar groove-based music that might seem more typical of percussion repertoire. With works by heavy-hitting composers Daníel Bjarnason, Christopher Cerrone, Anna Thorvalsdottir, Ellen Reid, and Andrew McIntosh paired with thoughtful and delicate execution, Beyond is a tour-de-force that stands at the leading edge of music for percussion." – Seth Tompkins (Second Inversion)