(Review Explosion, curated by contributing editor Malachi Lui, is a guide to notable recent releases and reissues. It focuses on the previous few months' new releases for which we don't have time or energy to cover more extensively.)
Between the excessive sprawl of 2013's James Murphy-produced
Reflektor and the failed experimentation of 2017's punchable
Everything Now, it might seem as if Arcade Fire spent the last
decade actively trying to lose people's interest. Now, however, they're
back; at least, that's what their Nigel Godrich-produced new LP
WE wants you to think. Split into more introspective "I" (A) and
outward-facing "WE" (B) sides, WE is a concise 40-minute
summation of the band's previous work. Every Arcade Fire record finds
them striving for epic heights and always falling short, though you
can't say they're not trying really hard.
Explosive worldwide vinyl record sales growth over the past few years produced a powerful response from the audio industry, based on what was on display at Munich High End 2022. A profusion of new turntables, tonearms, phono preamps and accessories spread throughout the sprawling 28,000m2 MOC Event Center made difficult covering it all even with four days available to do it.
“I’ve been a harmony singer most of my life. I know what to do, and where to be.”
That’s Graham Nash, 80 years young, not only defining his artistic M.O. as a tenor vocalist, but also speaking to his inherent instincts for knowing what the right tones are for the music he’s making, and, frankly, where he stands on life and society in general.
On the evenings of July 12, 13, and 14, 1957, Bill Broonzy made his last recordings at Universal Recording Studios in Chicago. He was suffering from lung cancer, was scheduled to be operated on in a few days, and had been told that he would probably not be able to sing after the operation.
In my previous review of the Korppoo Trio by the Sibelius Piano Trio and Yarlung Records, I spoke a great deal about the recording philosophy of this boutique classical outfit and their AAA, 45rpm chamber music records. From the same recording sessions that brought us that exquisite romantic delight, we have another outing with musicians Petteri Iivonen, Juho Pohjonen, and Samuli Peltonen, this time with a decidedly different program.
LOS ANGELES, May 16, 2022 /PRNewswire/ — Sony Music and the Estate of Michael Jackson today announced that it will celebrate the 40th anniversary of Michael Jackson’s Thriller, the biggest selling album of all time, with the November 18 release of Michael Jackson Thriller 40, a double CD set comprised of Michael’s original masterpiece Thriller and an exciting second disc full of surprises for fans including never-released tracks which were worked on by Michael for the Thriller album. To date, the album has amassed in excess of 100 million in sales worldwide.
The $725 ($995 CAD) io is Rega Research’s entry level integrated amplifier. At 30 watts per channel into 8Ω—compared to the more costly Brio’s 50—the io aims toward listeners using easy-to-drive loudspeakers and/or headphones. Featuring the Brio’s moving magnet phono preamplifier and class A/B power amplifier stage, the io strives to borrow at a lower price point the Brio’s sonic characteristics: wonderful detail, wide dynamic range, and raw musicality. It shares the more costly Brio’s high quality “Alps Alpine” potentiometer and linear power supply. Rega even offers a lifetime warranty against any potential manufacturing defects. With its integrated phono preamplifier, two line level inputs, 3.5mm headphone output and remote control, the io offers everything a beginner hobbyist may require… at least theoretically.
Last year, British electropop star Charli XCX tweeted, “rip hyperpop.” The tweet shocked many—especially coming from the artist who brought bubblegum bass and hyperpop to broader audiences through projects like 2016’s SOPHIE-produced Vroom Vroom EP or 2020’s quickly recorded quarantine album how i’m feeling now—but Charli has always gone at her own pace, on her own terms. Yet, her new album Crash presents her as merely another generic pop star, supposedly as a performance art piece about selling out that doubles as her last record on Atlantic (and therefore her as-of-now last chance to use those major label resources). Crash is Charli’s Let’s Dance: the album where a pop star fully embraces the mainstream after years of artsier excursions. Unfortunately, the end result lacks personality, trading her strengths for lyrically emptier and sonically blander songs laser-focused on mass appeal.