Mark McGuire's albums are, amongst many other things, strong arguments for the album and for the stereo system. They're not just music; they're statements, and they demand to be experienced by the best sonic means available. They're throwbacks, not in style, but intent and effect. Put another way -- they don't make them like this anymore. The wall of sounds contained therein constitute a degree of ambition uncommon since the 70s heyday of McGuire's forebears -- Gottsching, Eno, Fripp. This is not laptop music. Beyond Belief, his second full-length for Dead Oceans, finds McGuire now well on the way of his own trip. Fantastical liner note tales written to accompany and set the stage for his mostly-wordless songs delight and confound. Throughout nine tracks we find an unrelenting drive to refine, build upon, focus and maximize the effect of an already remarkably prolific body of work. Though deservedly known for his virtuosic multitracked guitar playing, McGuire in fact plays every bass / synth / piano note, and every beat on the album himself, his vocals more prominent than ever before. 26 months in the making, the passion going into Beyond Belief is self-evident, and the effect is overwhelming. Like many before him, McGuire isn't entirely comfortable with the critically-bestowed 'new age' tag, but the resonance is there particularly in McGuire's prose, and it's not unreasonable that he appeared alongside venerated new age masters Iasos and Laraaji in The New York Times' appraisal of the new age music renaissance ('For New Age, the Next Generation', Mike Rubin, February 16, 2014). Running nearly 80 minutes, the bold and fearless Beyond Belief is McGuire's magnum opus to date, but in truth, there is no end in sight for McGuire's vision, making any such assessment wholly premature.