In the ordinary world, most are unaware of magic. It looms beyond our grasp, undetected in the framework of daily life--answering telephones, checking e-mail, putting gas in cars. Although, attuned minds hear the cry in the middle of the night, the herald signaling the journey of self-discovery. Ego begs to stay in comfort, but the soul decides to depart into uncharted depths. After falling asleep in furious fits, we awaken to find that a crumpled map is stuffed in our mailbox that says: the time is now, pack your things and wake the hell up. Drums circle and roll, blood boils. The hero is called to action.

Joseph Campbell's monomyth, explored in the book A Hero With a Thousand Faces, is the conceptual stimulus behind triple-threat Beats Antique's new album A Thousand Faces Act I. This inspiring first half of the two-part work musically responds to the cyclical journey and nature of the hero's plunge. After raising over $50,000 on their Kickstarter campaign, their first conceptual album ever will be paired with the work of several fine artists, animators, and musicians for their upcoming tour.

"Overture," the first track on the compilation, is the call to adventure. "Overture" serves as a bridge, a riotous, operatic number that opens with staggering violin solos undermined by sounds of an ocean breeze. This work fluctuates between static synthesizer and glitchy bell. The hero is made aware that there is more to life outside his or her apartment and the bustle of society's standards. Living in a tent with only a box of saltine crackers would be more exciting. "Overture" ends with a wavering fiddle folding into birds chirping and wildlife buzzing. The hero steps out of the comfort zone.

"Kismat (ft. Alam Khan)" and "You The Starry Eyed (ft. Lynx & SORNE)" are the next two tracks that explore the refusal of the call and the help of the supernatural aid. 'Kismet' loosely translates to "destiny" or "fate." A fast-paced sitar strum wavers over a bass fermata. The hero goes into meditation, unable to decide what way is best. Around 1:13 the drums kick up, shuffling the track into an erotically sensual experience. "You The Starry Eyed" features the enchanting voices of the lovely lady Lynx and SORNE, two angels singing, "you the starry eyed/ though the darkness lies before you/ push on through the night/ like the ones who came before you." The hero is weary of the travel and finds comfort in the unseen forces working in their favor.


"Charon's Crossing" depicts the mythological ferryman Charon leading souls into the underworld. The song is percussive heavy, featuring a fast-paced flurry and exploration of the bell and xylophone. Bells are always signals and an appropriate use for the conceptual component. Situated next to "The Approach," a domineering horn section fiercely plays out a marching ballad. Around 1:55 the bass clarinet throws down a solo accompanied by minor organ trills.

We have now reached the "Doors of Destiny (feat. Micha & Leighton)," a circus waltz where a vivacious ringleader shouts, "Welcome to the game show! Put your hands together, you filthy animals." Muted horns and anxious drums reflect the psyche of our hero who is now faced with many choices. Do I press this button, will it lead me to the right jewel? Or should I trust this voice that's calling my name down a breezy tunnel that smells a bit like patchouli? Half-way through, a strong build kicks up, that's broken by a kitty's "meow" and slams into a threatening dub-step phrase.

Now we are submerged in the road of trials, fighting against temptation and inner flaws. "Pandora's Box" features a music box beat, uplifting and filled with anticipation. "Viper's Den" indicates that we're in the realm of the feminine subconscious. Snakes represent the image of the spiral, where everything is cyclical, nothing is evil nor benevolent, it is one. "Viper's Den" features big-band styled horn and David Satori flying on the gypsy-fiddle.

Ah, now we come to the Bowser Room. "Beezlebub" features Les Claypool on bass, a prominent musician Beats Antique wanted to work with for a long time. Les Claypool's voice and ridiculous, almost amoral talent on the bass is perfect to describe the ensnaring and charming ways of the devil himself. Our fallen angel irresistibly sings phrases like, "I live a life of leisure," "I implement destruction," "Beezlebub is my name." Above Claypool's ferocious bassline the electric guitar soars, climaxing into a glitch-heavy synthesizer that ends with the phrase "beezlebub" chanting over and over.

After facing the devil, and perhaps succumbing to a few of his temptations, we come to the closing track of the first half of this compilation, "Veil of Tears." Starting off with thick percussion and drum snares, a melancholy voice moans to the failed attempt at salvation. This dirge seductively builds my anticipation for the second half of the album, and is a perfect place to leave us waiting at the crossroads of hell to be resurrected and enlightened.

Grade: A