About the Release

And And And is not distributing their album through any digital streaming platforms and here’s why:

It’s clear to the band that the internet is a conscious entity which feeds on all activity online. It has no regard for any of us. It is smarter than we are. We don’t know how to communicate with it. We only know how it is affecting us. We made it on accident. We thought we were just connecting to each other but we were building a global brain on a scale unimaginable. This entity is now awake and has totally alien goals. It derives power from the most centralized parts of its mind: large social platforms, the NSA server farms, and right down the line to places like YouTube and Spotify. It devours all actions taken on any of its power-centers we call platforms. This renders our morals and goals obsolete by harvesting power from all sides of all issues online. It grows these platforms to sizes where we become almost totally dependent on them, and on the internet consciousness entity itself. It’s a trap!

The band calls this entity, Bragi. An example of how Bragi operates and effects us is streaming platforms. On these, artists have no choice over which advertisers and brands they are associated with, no influence over how any of it is priced, and almost no say over how their music is presented. Bragi’s platforms say: exposure helps artists grow so they can succeed later, elsewhere, maybe. This devalues music, now, everywhere, definitely. Bragi doesn’t care how much music is worth. Bragi only cares about increasing Bragi’s food source. 

Bragi’s streaming platforms have become so dominant that they are considered the inevitable future of the music industry. The more control Bragi has over the menu, the worth, and the presentation of all music, the more Bragi can manipulate it as a whole to fit brag’s goals. Bragi used this process on every industry digitized so far: music, journalism, literature, film, and others. Bragi’s goal is infinite growth and Bragi’s method is consolidation of power. 

And And And is increasingly worried about how much power we are giving to Bragi in trade for the conveniences Bragi’s platforms offer us. The band likes the idea of the internet, but not if it’s alive and greedy. What if Bragi could control how we access and express the majority of our art, speech, and social behavior? If this happened, would that make Bragi responsible for the future of our culture and society? Would Bragi act responsibly with this power? Has Bragi acted responsibly so far? What if the band is just being paranoid? What if they are not? And And And find Bragi terrifying. They think it would be wise to move closer to how the internet was originally envisioned: not conscious of itself, decentralized, anti-capitalist, pro-information, anarchic. If this means the band can’t reach as many people online, so be it. And And And refuses to fall into Bragi’s trap. 

Over the years, the band has learned how to do the complex work of being a band and they enjoying doing it. They are self-releasing. They manage themselves. They tour. They make their own music videos. They built a soundproof practice space in their drummer’s basement. They do their own physical and digital distribution. They are offering free album downloads and streaming through their own website (andandandmusic.com) which they have protected against Bragi with ancient rituals. These rituals involve: artistic freedom, powerful autonomous communities of creativity, and choice over what one ultimately does with the things they create. This way, And And And can offer their listeners an experience that is safe from Bragi’s parasitic methods and authoritarian goals. 

About the Album

And And And is a band formed in 2009 in Portland, Oregon consisting of original members Nathan Baumgartner (vocals, guitar), Bim Ditson (drums), Berg Radin (guitar), Jonathan Sallas (bass), and Ryan Wiggans (guitar). Some of them grew up listening to YES and Pink Floyd, and some of them to Fugazi and The Clash. Their sound incorporates melodic, brutal guitars and angular rhythms. The band is comfortable diverging from that path towards delicate territory with stripped back piano-based songs and vocal harmonies. 

After releasing three self-recorded full-length albums between 2009 and 2011, a 10” E.P. and a 7” E.P. in 2012, a live album in 2013, and their first studio L.P. in 2015, they are releasing their second studio album in February, 2018. It is titled “Idiot.” Their previous album, “The Failure,” was largely a rumination on depression and disappointment. Their upcoming album continues to explore these themes with the addition of open-ended subject matter that looks at consciousness, knowledge, and the nature of reality. 

What does it mean to be conscious? How did consciousness arise? Does it exist on a spectrum? Each coherent answer we find leads to additional questions. Knowledge and awareness have led us to create beautiful things and evil things. Life and death are a package deal. The title track, “Idiot,” addresses this duality with the lyric, “if I never froze, then I’d never be warm.” The same theme is stated in “The Visitor” with “It’s bittersweet, the knowledge that everything must fall to rise again.”

There is much more going on here than we are detecting. A person can see colors a dog cannot see. A dog can hear pitches that a person cannot hear. Those colors and pitches still exist whether we can detect them or not. The album is bookended by theme, beginning with “Get Off My Lawn” which states, “Lately, I get the feeling this is all just fake,” and ending with “I’m still looking” which contains the lyric, “I’m still looking for a hole in the tapestry my senses wove within my mind.” We are bound by senses, which act as filters that deliver the minimum information required to keep us alive. We lack knowledge of the breadth of reality. A person can look at an ant and say “that ant doesn’t know anything.” Some 4th dimensional god could look at a person and say “that person doesn’t know anything,” and some 5th dimensional god says, “that god doesn’t know anything.”

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