Mochilla's concert series Timeless (where the music of James "Dilla" Yancey, Arthur Verocai, and Mulatu Astatke is paid tribute by over 150 musicians) is screening today at the Seattle Art Museum's Nordstrom Lecture Hall. Instead of screening each 72-miniute film back to back, all three will be cut up and re-imagined by OG Beat Junkie J.Rocc. It'll be something much like this:

Eluvium, Benoît Pioulard

(Vera) Not unlike the ambient compositions of artists like Brian Eno, William Basinski, and Stars of the Lid, Eluvium produces serene swaths of guitar and keyboards that can serve as a means to attaining peace of mind and/or a higher state of consciousness. While by no means suitable for filing in new age bins, Eluvium full-lengths like Lambent Material, Talk Amongst the Trees, and Copia cast becalming spells through beatific waves of minimalist guitar and piano, scrupulously fashioned into pieces of understated grandeur. These records—as well as the all-piano opus An Accidental Memory in the Case of Death—instill tranquility while also moving you to misty-eyed contemplation. DAVE SEGAL

Sleepy Eyes of Death, Feral Children, Talkdemonic

(Neumos) On their new mini-album, Toward a Damaged Horizon, local synth-rock quartet Sleepy Eyes of Death continue to do what they do best: epic, mostly instrumental scores that evoke French band M83 in their old John Carpenter—worshipping phase (rather than their more recent John Hughes mode). "The Sound of Light Breaking Down" leads with a burbling then glittering synthesizer arpeggio strung across a steady-driving live drumbeat—it's a little bit Knight Rider and a little bit Blade Runner, and it's probably destined for some slick remixes. Throughout the album, gaseous crescendos are broken up with drumrolling rock, give way to tightly sequenced motorik grooves, or are pierced by vocals vocodered until they sound like knives being sharpened. Live, SEOD back their high-volume assault with colored gels and much smoke, and it makes for one big, moody spectacle. ERIC GRANDY

The Beets, German Measles, the Coconut Coolouts

(Funhouse) The Beets are yet another Brooklyn band doing a bong-smoke-hazy take on classic '50s pop and the softer side of '60s garage rock—like a puckish punk band (their debut is called Spit in the Face of People Who Don't Want to Be Cool) playing an under-the-sea prom, but doing it more or less by the book. A lot of this stuff strikes me as incredibly lazy and boring—which, really, is kind of the vibe it's going for—but the Beets clearly have some quality hooks hidden under their mildly obfuscating reverb and tape hiss. German Measles are yet another another another another such band, a little messier and wilder, with songs like "Wild Weekend": "C'mon baby and party with me/Take some drugs and party with me/We're gonna have a wild weekend/Hey baby it's party time." The Coconut Coolouts would also like to party with you. ERIC GRANDY

Black Breath, Christian Mistress, Anhedonist, Swörming, Ubik

(Black Lodge) There's no question that at the end of the year, Black Breath's newest LP (and Southern Lord debut), Heavy Breathing, will earn top rankings in many a best-of list. With Converge guitarist Kurt Ballou working the knobs on the recording at his world famous GodCity studios, the Seattle band has channeled their love of Swedish metal riffing harder than ever before. But don't worry, Black Breath still ply a sound best described, by guitarist Zack Muljat, as "equal parts Motörhead and Discharge." And they'll continue to do so all over the world when they hop on a U.S. tour with Converge and Coalesce next month. Tonight's your chance to catch these dudes before the entire world knows their name. KEVIN DIERS

And there's always more in our complete music calendar listings.