The Sound Room

The Aperion Guide to Summer Music Festivals

by Jason Hicks

With the days lengthening and daffodils blooming it can only mean one thing; the summer music festival season is rapidly approaching!  It used to be that were only a few players on the big time festival scene, and most of them were touring genre-specific festivals like Ozzfest, The Warped Tour or the original Lollapalooza.  These days most festivals go for massive multiple day affairs in one location.  As gas prices skyrocket, condensing many acts onto several stages at one event makes sense for both bands and concertgoers alike.  So grab your sunscreen and lawn chairs for our rundown of the hottest festivals.

Coachella Valley Music and Arts Festival April 13th-15th & April 20th-22nd Indio, CA

Patterned after European music festivals like Glastonbury and Roskilde, Coachella has kicked off the U.S. festival season since 1999 in the perpetual summer paradise of Palm Springs.  The venue is a big part of the appeal of Coachella as it's held at an immaculately tended polo club that is lined with postcard worthy date palms.  It's not uncommon to see recycled art installations from Nevada's freaky Burning Man festival dotting the grounds.  The weather ranges from perfection to blazing, with nearly zero chance of rain and Woodstock style mud pits.  The bands usually skew toward the electropop end of the spectrum, although this year seems to be decidedly scattershot with acts like Dr. Dre and Snoop Dogg, Florence + The Machines, The Black Keys and former Oasis head honcho Noel Gallagher topping the bill.  Since the festival has sold out in advance the last couple of years, they are trying out an unusual strategy to increase attendance this time around and are holding two identical festivals on successive weekends.  My advice, go on the second weekend after the kinks have been worked out. 

New Orleans Jazz & Heritage Festival April 27th-May 6th New Orleans, LA

Widely regarded as the city with the richest musical tradition in the country, it's fitting that New Orleans annually hosts one of the most massive and long running musical festivals around.  Just about every New Orleans heavy hitter will be there over the two weekends: Dr. John, The Neville Brothers, Trombone Shorty, Allen Toussiant, The funky Meters, the list goes on and on.  But of course there is also a plenty of other music on tap too.  The rest of the lineup isn't limited to jazz, but it does favor the baby boomer set with artists like Bruce Springsteen, The Beach Boys, Herbie Hancock and Bonnie Raitt being among the main attractions.  Since it's New Orleans the food is also a huge part of the melange, and local offerings of jambalaya, gumbo, bbq and po boys abound.  On top of all that, you'll find a crafts fair and historical exhibits on the festival grounds.  The music ends early each night so marathon minded enthusiasts can venture into the city proper to take in the myriad of local venue shows that extend deep into the night.

Sasquatch Music Festival May 25th-28th George, WA

The Northwest's premiere music festival's lineup this year is so stellar that the festival sold out over a month advance, which is impressive even given the venue's small 20,000 capacity.  Speaking of which, the Gorge Amphitheater is one of the most breathtaking venues in the country with the Columbia Gorge serving as a picture perfect backdrop to the proceedings.  From certain angles it almost looks like the stage is hanging over the Columbia river, although that's not the case.  The schedule is indeed packed with quality indie acts like the newly solo Jack White, Beck and a bunch of locally affiliated bands like The Shins, Carrie Brownstein's Wild Flag and Portland's up and comers Blind Pilot.  The lovely Ms. Brownstein will be doing double duty as she and Fred Armisen will also do a live version of their insanely popular Portlandia sketch TV show, which promises all kinds of hipster in-jokes.  Finally, the on site camping is notorious for all night parties, but pace yourself as the Eastern Washington heat during the day can turn your tent into a sauna in no time.  Since it's sold out, pricey VIP packages or trolling Craigslist are your only hope to get in on the fun if you haven't scored tickets yet.

Bonnaroo Music & Arts Festival June 7th-10th Manchester, TN

Bonnaroo, or simply "the Roo" for those in the know, started out as a neo-hippie mecca primarily focused on jam bands in 2002.  Although the name Bonnaroo comes from New Orleans slang for "a really good time" and there has been no shortage of Louisiana based music at the festival over the years as well.  Since around 2006 or so the lineup has included more indie rock and electronic acts and this year is no exception with Radiohead, Bon Iver, Foster the People and Feist all set to perform.  Of course you'll still find the likes of Phish and Umphrey's McGee turning out crunchy grooves.  But music is just the beginning of the offerings, with top comics like Aziz Ansari on hand, a cinema tent, a "Broo'ers" festival with microbrews and more.  If the humidity and surely odorous attendees don't bother you, the Roo is one of the biggest and wildest festivals to catch.

Newport Folk Festival Newport, RI July 28th and 29th

Dating all the way back to 1959 the Newport Folk Festival will always be remembered for the infamous 1965 performance by Bob Dylan in which his newly electric band was met with boos from the crowd.  These days fans can expect to hear a variety of music, which although still rooted in folk and Americana, includes numerous electric rock n' roll acts.  The strategy of appealing to a wider audience since the 90s has paid off and the festival has gained so much prominence that Saturday and two day tickets are already sold out.  The top acts this year include Arlo Guthrie, Patty Griffin, My Morning Jacket, and hot buzz band Alabama Shakes.  There will also be a warm up show of sorts by Wilco with Portland's Blitzen Trapper opening up on Friday July 27th. 

Lollapalooza August 3rd-5th Chicago, IL

Lollapalooza started out as the quintessential alternative music festival in 1991 when it served as founder Perry Farrell's farewell tour with Jane's Addiction.  That petered out in the late 90s, but the festival was reborn in 2005 as a stationary festival in Chicago's Grant Park, which makes for a uniquely urban setting.  The eclectic tradition of the original festival remains in tact as this years acts range from cutting edge groups like electronic rockers M83 and Bassnectar to nostalgia acts like Black Sabbath.  You'll also find a plethora of lounges sponsored by hip companies like Google and Adidas.  Kids 10 and under get in for free and will be treated to their own area with a stage featuring kid friendly acts like Ralph's World and other activities and workshops.

All Things Vinyl, April 5th, 2012, LP Gear Review: Living with the Lyra Delos.

by Oliver Amnuayphol

Remember the Lyra Delos I wrote about way back in the March 2010 edition of All Things Vinyl? Try as I might, I couldn't stop thinking about it: Just reading about all the new-tech hotness that went into the design of the Delos made me really, really want one. And once I saw the line drawing detailing the New Angle damping system? Forget about it--I was smitten. Hooked. Sprung. Completely whipped. I was so consumed by the thought of this golden-hued beauty I actually had a dream about it: The Delos was calling out to me, begging me to liberate it from the distributor's shelf upon which it sat. I mean, I couldn't just ignore it, could I? Allow it to remain confined by some packaging for any longer? That would just be cruel, and I am not a cruel man. I decided the decent--nay, the humane--thing to do would be to allow this cartridge to fulfill the promise of its birthright by letting it trace the groovy contours of as many licorice pizzas as possible. Determined to set free the Delos of my dreams, I ordered one for myself in January of last year and received it in no time at all. I eagerly went about mounting and aligning it on the gorgeous Ortofon AS-212s tonearm that's part of my fully-restored Thorens TD-124 turntable, carefully ensuring I properly dialed-in every set up parameter.

After letting the Delos run-in for a few hours, I cued up Classic Records' reissue of Reiner and the CSO's recording of Scheherazade and sat down for a listen. Almost immediately, the Delos put my ears at ease with its well-balanced and clear yet colorful sound. Tonal colors were spot on, and the Delos' fundamental neutrality always served the music in an honest yet natural fashion. Listening to the second movement from Scheherazade, "The Story of the Kalender Prince," every instrument possessed a richness of timbre, and I could easily distinguish the individual musical threads that were interwoven within the orchestral tapestry. Imaging was also first rate: The soundstage was wall-to-wall huge, with a fine sense of depth and scale to it. Each solo musician's acoustic space and placement was also easily distinguishable, and the sense of being in front of the CSO was uncanny.

I proceeded to spin all different kinds of records, including "Minnesota, WI" from Bon Iver's latest eponymous release. All it took was hearing the first few opening bars to confirm the Delos was neutral enough to do justice to both classical and modern music and everything in between. Listening longer, I could easily hear into what specifically the Lyra cartridge was doing right: Bass was taut, nimble, and weighty; guitars sounded appropriately "crunchy" and distortion-laden; horns had an accurate presence and brightness; and cymbals possessed a fine, bell-toned shimmer and decay. Indeed, the Delos displayed no obvious sonic deficiencies of its own, ticking all of the audiophile checklist boxes: "you are there" realism and imaging; outstanding macro and micro dynamic range; and an overall detailed, highly-textured, yet naturally-presented sonic picture. And perhaps it's that last bit that's really telling of just how far Lyra has come: Never once did the Delos sound artificially "hi-fi" or austere in any way, having an organic wholeness to its sound that's absent from its progenitors. So if you're familiar with Lyra's house sound of yore and weren't exactly sweet on it, it might be time for a fresh listen: This latest Lyra retains all of the detail, precision, and incisiveness of its forbears while never sounding the least bit cold nor analytical--an impressive feat for sure.

 Of course, all the sonic wizardry in the world would be for naught if the Lyra Delos didn't make music as well as it made sound; thank goodness then, it does. Listen to something where the melodic line is the central focus, like Johanna Martzy and Jean Antonietti's recording of Franck's Violin Sonata in A major (Coup d'Archet 001), to hear how effortlessly Martzy imbues every note with a pitch-perfect yet non-clinical precision; or how she moves between playing with grand power or delicate subtlety where called for; or how she deftly combines technical prowess with emotive sincerity to create a sound that is uniquely her own. All of these musically significant cues came through cleanly and clearly and made for the most enjoyable session I've yet had with this record. I've played many, many other records since this Martzy LP, and no matter what, the outcome is always the same: The Delos consistently brings out all of the color, drama and emotion from every one of 'em,  underpinning its delivery with a tunefulness, rhythmic stability and momentum few cartridges can match. The net result? A cartridge that's eminently listenable, one that simply gets out of the music's way to uncover more of the musical goodness hidden within the record's grooved walls. 

So how did this Lyra compare to the discontinued Ortofon Jubilee I cherished for so long? Very, very well. In fact, in my system, I preferred the Delos in every way: It just seemed to let more sonic and musical splendors through, as if there was less haze between me and the music. "Veils were lifted," as audiophiles used to say back in the day, and every record I played sounded as if it "snapped" into a tighter auditory focus courtesy the Delos. I suppose given the age of the Jubilee it could simply have been past its prime (even with the retip I wrote about previously), but there really was no comparison: The Lyra Delos was the most musically convincing cartridge I'd yet heard in my own system--no small feat considering the Delos costs noticeably less than the Jubilee ($1649 vs. $2199), and that the latter still handily bests many pricier cartridges.

So if it wasn't obvious by now, I couldn't be happier with my Lyra Delos: It's unquestionably the best-balanced, most sonically coherent, musically communicative sub-$2k cartridge I've yet heard. Its neutral yet expressive character results in a highly engaging, insightful sound that moves far beyond the audiophile sonic checklist, allowing one to better connect with the music contained on his or her records. Rarely do modern phono cartridges convey the essence of music like the Delos does, let alone without any obvious sonic shortcomings. It's that good. It's so good in fact, I can't imagine there being a better cartridge anywhere near its price. So a huge "Thumbs up!" recommendation for music lovers of any stripe.

 

The Definitive Top Ten Albums of 2011

by Jason Hicks

I have long been a proponent of the album, but this year I joined the dark side and became a member of the “cult of the song.”  Using new methods of music delivery such as Spotify and Turntable.fm has radically changed my listening habits, moving from ingesting entire albums at a sitting to playing a hit parade of tracks by disparate artists.  Because of that shift, I struggled with coming up with this list as I never had before.  It wasn’t that there was a lack of quality material; it was just that I hadn’t spent enough time with many albums to come to an opinion I felt was worth sharing.   So after embarking on a month long cram session, catching up on that which I had neglected, I can confidently offer my choices for the top 10 albums of 2011.  Enjoy! 

10. Clams Casino- Instrumental Mixtape

As the line between electronic music and hip hop continues to blur,it’s likely that we will continue to see more producers in the vein of Clams Casino.  While his compositions can be used as the backdrop for rapping, they truly come to life when heard in their instrumental form.  Clams Casino’s music is easily reduced to a formula of clanging grainy beats, darkly buzzing synths and ethereal vocal samples that are often supplied by well-known singers like Bjork and Janelle Monáe.  But even though his sound may be easily identifiable and deconstructed, the sense of melody and dynamism is strong enough to remain engaging for the duration of this collection. 

9.  Com Truise- Galactic Melt

Com Truise, the cheeky moniker of Seth Haley, sounds like what the music of ‘80s video games could have been had their composers not been confined to a mere 8 bits.  While much of the feel of Galactic Melt is indeed retro, from song titles like “VHS Sex” to the pastel geometric shapes on the album cover, the drum patterns and production values undoubtedly mark it as a product of current times.  It’s a sound that I have dubbed “TronTronica”, as it brings to mind Wendy Carlos’ score for the original Tron but also comfortably coexists alongside its contemporaries in the electronica genre.  So put your digitally enhanced Star Wars Blu-Ray on mute, crank this up and enjoy some retro-futurist nostalgia for a high definition ‘80s that never happened until now. 

8. M83- Hurry Up, We’re Dreaming

M83’s last album, Saturdays=Youth, was an unabashed love letter to the simpler times of the 80s, with dreamy Cocteau Twins style vocals and glossy guitar leads dominating its soundscape.  Maestro Anthony Gonzales continues this trend with the sprawling Hurry Up, We’re Dreaming which packs candy colored synths, Seinfeld slap bass, soft rock saxophones and no small amount of grandeur into its over 70 minute running time.  It seems to concern some loosely executed theme of dreaming and imagination, complete with a children’s narration of a fantastical transformation into a frog on “Raconte-Moi Une Histoire.”  Like just about any album over 60 minutes there is some filler, notably the several one to two minute instrumental interludes, some of which paradoxically feel like they could be longer.  But when it works on tracks like “Claudia Lewis” and “Steve McQueen”, it’s impossible to deny that Gonzales is the master of nailing the ‘80s sound and turning it into something that is indelibly his own.

7. TV on the Radio- Nine Types of Light

With 2008’s Dear Science, TV on the Radio knocked it out of the park.  It was a dazzling summation and extension of their synthesis of soul, indie rock, electronica and even threw some Afrobeat and string arrangements into the mix.  When placed alongside that masterwork, Nine Types of Light does feel somewhat like a step back, as it is easily the most accessible TVOTR album to date.  Having said that, the album still offers enough pleasures to land it on this list and the band remains firmily entrenched in the upper echelon of indie rock royalty.  Highlights include the slow burning guitars and icy synths of “You” as well as the rave up “No Future Shock.”  The album peaks with the elegiac “Killer Crane” where the unlikely bedfellows of banjo, cello and synths combine to create a track of sublime beauty and quite possibly points the way forward for TVOTR’s future. 

6. Little Dragon- Ritual Union

Little Dragon were thrust into the spotlight in a major way last year after being featured on two tracks of the Gorillaz album Plastic Beach and serving as an opening act on the subsequent massive world tour.  With the release of the Swedish group’s third album they efficiently capitalize on the opportunity to reach a wider audience with a concise set of well-crafted electronic pop tunes.  The music leans toward the leftfield side of the electronic spectrum with drones and chirps floating in the mix and at times can come off as a bit simplistic.  But that only serves to highlight the group’s main strength, the delicately soulful vocals of frontwoman Yukimi Nagano.  After a couple more high profile collaborations this year with the likes of DJ Shadow, she appears to be the guest vocalist du jour.  One can’t help but imagine that a Nagano solo album with top flight producers might be just what she needs to really launch her career into the stratosphere. 

5. Bon Iver- Bon Iver

Bon Iver’s 2007 album To Emma, Forever Ago was so universally acclaimed and adored that the follow up seemed almost destined for backlash.  That the eponymous sophomore effort by Justin Vernon makes no attempt to replicate the rustic heartbreak of To Emma is not as bold of a move as it may seem on the surface.   Reducing comparisons to an apples/oranges type conversation sidesteps the whole question of whether To Emma was a onetime flash in the pan.  From the album opener “Perth” it’s clear that Vernon will be working with a much more expansive pallet of sound with electric guitars, drums and even a horn section cropping up.  Even though the scope has been broadened, Vernon’s falsetto remains as affecting as ever and some of the songs like “Holocene” and “Michicant” remain grounded in the folk genre.  Then there’s the albums real curveball, the album closing “Beth/Rest” that wouldn’t sound out of place if inserted into Air Supply’s Greatest Hits.  If you heard last year’s soft rock tinged indie supergroup Gayngs that also featured Vernon, it may not be quite as much of a shock, but you still have to wonder exactly why it was included here.  That aside, Vernon shows real growth on Bon Iver, and impresses with his ability to incorporate new dimensions into his music successfully.

4. Blitzen Trapper- American Goldwing

On American Goldwing Blitzen Trapper take their adept mining of classic rock tropes and spin it into a loving hommage to the America of the ‘70s and ‘80s.  The songs are full of tales of the open road and dreamers gazing into vast expanses of stars while trying to find the perfect song on an old FM radio.  Musically, it’s a rich slice of Americana full of harmonicas, country tinged slide guitars, banjos and Eric Earley’s world weary Dylan inspired vocals.  The album itself is named after a 1980s Honda touring motorcycle, and the American rite of passage of freewheeling travel looms large.  Another lyrical theme is the depiction of the natural beauty that accompany such road trips.  While in the songwriting department it may not top the best tracks from 2008’s Furr, it does do an excellent job of sustaining a consistent tone.  Sure it’s a nostalgia trip, but with the land of endless opportunity that American Goldwing evokes rapidly disappearing or already gone, now is as good of a time as any to pay tribute to it.  Right down to the mini LP packaging and poster that come with the CD, Blitzen Trapper capture the essence of that bygone era with perfection. 

3.  The Roots- Undun

The Roots have been cranking out consistently outstanding hip hop albums for almost twenty years now, but never before have they attempted an album as ambitious as Undun.  A true rap concept album, it chronicles the rise and fall of a hustler in reverse, opening with his violent demise and retracing the decisions and pressures that led to his undoing.  It’s not the typical glamorous portrayal of the street lifestyle as a bling filled fantasy, but instead fixates primarily on the greed and short sighted get rich quick mentality that has led so many young men to a predictable dead end.  As rapper Black Thought sums it up near the end of the album, “Picture me livin’ life as if I’m some animal/ That consumes its own dreams like I’m a cannibal.”  It’s a bleak and unflinching condemnation of the lifestyle that has wrought ruin upon entire generations of African Americans.  The album closes with a haunting four part instrumental suite for piano and string quartet that even dips into avant free jazz with “Will to Power (3rd Movement).”  The last four tracks, unlike anything put down on a hip hop album before, push the album over the top from great to brilliant.   While not the easiest listen, it is undoubtedly as rewarding and important album as any in The Roots catalog.

2. Tycho- Dive

There have always been two major strains of electronic music; that which was engineered primarily to move bodies on the dance floor, and on the other side, music that was meant for introspective listening in a home environment.  With Tycho’s (nom de reality Scott Hansen) third proper album, he takes his place among the elite purveyors of the latter style.  While he borrows liberally from the warbly analog tones of downtempo masters Boards of Canada, Tycho is quite a bit more blissful and lush as opposed to the moody and at times sorrowful sounds of his forbearers.  There’s also a major emphasis on melody, with acoustic guitar on several tracks.  Relying on traditional song structures is a refreshing change in the context of a genre that can often times get lost in its obsessions for rhythm and timbre.  As the album title and art imply, Dive frequently evokes images of placid marine environments and on top of Hansen’s knack for hooks, the proceedings have a watercolor infused airy quality.  For those looking for new electronic relaxation music with substance, Tycho is just what the doctor ordered.

1.  Akron/Family- S/T II: The Cosmic Birth and Journey of Shinju TNT

Akron/Family are a virtual encyclopedia of psychedelic motifs, moving effortlessly from heavy Black Sabbath riffs to backwoods folky jams to tribal call and response chants, sometimes all within the same song.  On their fifth full length the group retains all of those qualities to some degree but adds a little more focus this time around and the result is a batch of songs that rivals their previous zenith, 2007’s Love is Simple. The album’s middle section in particular flows beautifully, starting with the brooding “A AAA O A WAY” that transitions seamlessly to “So it Goes”, which starts as a crunchy Lennonesque rocker and floats back to earth hazily into the spinning bombast of “Another Sky."  That in turn leads to the marimba driven stomp of “Light Emerges” and the sequence concludes with the acoustic hymn of “Cast a Net”.  From there the album moves through experimental instrumental sections and a few more folk imbued quiet tracks.  The overall impression is of a band that can write top notch songs, take risks and have it all come together into a cohesive whole that sounds like something truly fresh.

The Top Ten Classical and Jazz Albums of 2011

 

by Oliver Amnuayphol

What a fine year in music for classical and jazz: We were lucky enough to have a veritable plethora of oustanding releases from both the new school and old guard of both genres--so many of them that I had a very tough time narrowing the list down to just 10 combined. Had I more time, I could've easily created a list each for both classical and jazz. Nevertheless, here are the ones that stood out the most:

 

10) Lang Lang, Liszt: My Piano Hero (Sony Masterworks): Add equal parts composing genius and virtuoso playing and you get Lang Lang's latest showstopper. Lang Lang has always been a polarising pianist, but here his originality and expressiveness do justice to the original "rock star" virtuoso who was Franz Liszt. Best of all, it's available on vinyl and sounds absolutely wonderful as such.

 

 

 

 

9) Harry Christopher's The Sixteen, Palestrina, Vol. 1(Coro): Praise be to the angels we have heard on high: The Sixteen have finally released a full Palestrina album, and it was definitely worth the wait. Here the Sixteen gloriously honor Palestrina's polyphonic masterpieces, imbuing every piece with perfectly blended melodies, beautiful sonorities, and soaring harmonies. Not to be missed if you're a Palestrina fan, or of Renaissance liturgical music in general.

 

 

 

8) Jordi Savall/Monserrat Figueras, Monteverdi- Arie e Lamenti (Alia Vox): How fitting that the two guiding lights of pre-classical music have also created the best early music album of the year. Here Figueras' voice, though mildly weathered with time, is still beauty incarnate, and Savall's instrumental prowess is always mesmerizing. Indeed, great music like this can only be born from a love for the music being made, and Savall's and Figueras' love of early music was only eclipsed by their love for each other. Sadly, Ms. Figueras recently passed away from a year long illness, leaving the world a much poorer place.

 

 

7) Gretchen Parlato, The Lost and Found (Obliqsound): No doubt, Parlato is one of the most inventive vocalists around, expressive like no other. Her soft-spoken style just begs you to listen a little closer, and she infuses every track here with a thoroughly modern and unique vibe. Her accompanying musician's are just as freely creative yet remain firmly rooted in jazz fundamentals and improvisation. Definitely the best vocal jazz album of the year.

 

 

 

 

6) Hans Kennel & Bruno Spoerri, Dusty Vibes (Sonorama): Since Kennel and Spoerri spent their careers plying their trade in Europe, most hardcore jazz fans have never even heard of these two. And what a crying shame that is: The tunes here, aired on Swiss radio over 40 years ago, swing as hard as anything heard stateside at the time. A great snapshot of what good jazz in Europe was like in the '60's. And bonus: Also available in glorious vinyl.

 

 

 

 

5) Alexandre Tharaud, Scarlatti (Virgin Classics): I must admit I never heard of Tharaud before I found this album, and boy am I glad I found this one. There's a keen sensitivity to the way Tharaud interprets Scarlatti, particularly his minor sonatas; listen to how Tharaud creates cascades of pellucid, symmetrical melodies with a touch of warmth--like softly melting icicles on a brisk, sun-kissed winter morning. A stellar album.

 

 

 

 

4) Hilary Hahn/Valentina Lisitsa, Charles Ives - Four Sonatas (Deutche Grammophon): Adding this album might be a bit like cheating, since nearly every Hahn album belongs on a given year's "best of" list. Still, there's a conversational interplay between Hahn and Lisitsa that really lets the dissonant magic in these Ives sonatas shine through, and the pair do a fine job of capturing the lighter, more lyrical sides of these compositions. Indeed, dissonance never sounded so harmonious.

 

 

 

 

3) Brian Carpenter's Ghost Train Orchestra, Hothouse Stomp - Music of 1920's Chicago and Harlem (Accurate Records): One listen to Hothouse Stomp and you'll be longing for Prohibition-era hooch and speakeasies. Carpenter and his orchestra have nailed the feel of the roaring 20s, and every musician here is ferociously wailing his (or her) heart out as if it were for the last time. If your musical tastes lean towards the dance-friendly jazzy, or blues-drenched and blearly (or really, anything in between), this album is a must.

 

 

 

 

2) Jason Adasiewicz's Sun Rooms, Spacer (Delmark): Not since the great Bobby Hutcherson has there been a vibraphonist as uniquely talented as Jason Adasiewicz. There's a bit of the avant-garde vibe to his, um, vibes as well, with an intensity few jazz musician's of any instrument can match. Thankfully, there's plenty of that intensity to go around on Spacer, rhythmically underpinning every piece with a propulsive, forward momentum for Adasiewicz' glistening, angular solos. Without a doubt, the year's best jazz recording.

 

 

 

 

1) Helene Grimaud, Resonances (Deutche Grammophon): If I had to pick only one contemporary classical pianist to listen to for the rest of my days, it would be Grimaud, hands down. One listen to this album and you'll quickly understand why: Like every other Grimaud recording I own, each piece here sounds utterly and fantastically dramatic without the slightest hint of virtuoso showmanship. How is this even possible? I can only guess it's because of her innate confidence to play the music with her emotions first, and to take creative chances few others would dare. And holy cripes does she ever deliver. Grimaud's renditions of Bartok's Roumanian Folk Dances in particular are astounding. If you took away all the other "best of's" I picked this year and left me only this one, I would still be perfectly content. Most definitely, indubitably, positively, the best recording of the year.

Aperion's Favorite Halloween Movies

by Jason Hicks

With Halloween just around the corner we took a (mad) scientific poll here at Aperion HQ to come up with our favorite scary movies to share with everyone.  Since you might have little ones around we kept it mostly family friendly and left the truly terrifying ones off the list, (The Shining, I'm looking at you!) but there's still enough frightful fun here to shake a skeleton finger at, enjoy!

The Nighmare Before Christmas

No Halloween list would be complete without an entry from the uniquely twisted mind of Tim Burton, and The Nightmare Before Christmas stands tall as one of his most creative works.  Even though he technically didn't direct it, his sensibility pervades this stop motion masterpiece's visuals and off kilter story which imagines different holidays as personified by towns that prepare all year for their big night.  The movie works as either a Halloween or Christmas tale as the residents of "Halloween Town" attempt to usurp Christmas from its rightful owners.  Odd yet light hearted and with some outstanding songs by the brilliant Danny Elfman, it's a treat for kids of all ages.

Young Frankenstein

Ok maybe this one isn't really for the kids, but it is pretty tame by today's standards and most of the "adult" humor will probably sail right over their heads.  Plus most of today's kids when faced with a black and white movie will probably be reaching for a Nintendo DS or iPad in short order, darn whipper snappers!  Anyway, this classic routinely ends up on lists of the funniest movies of all time and rightly so, the combination of Mel Brooks and Gene Wilder is pretty much guaranteed comic genius. This scene with Gene Hackman as the worst host ever sticks out as a highlight. 

It's the Great Pumpkin, Charlie Brown

If you are like me, watching this on TV every Halloween is something of a tradition.  That Peanuts was way ahead of its time and provided the prototype for the "lovable loser" that is commonplace in comedy these days is no secret.  That said, it's still fairly amazing that a cartoon that is basically about disappointment aired on network TV in the mid 60s.  From Charlie getting rocks instead of candy to the Great Pumpkin never appearing, the episode is fraught with failure, even Snoopy loses his battle with the Red Baron.  But in the end Linus holds out hope that the Great Pumpkin will show up next year, and it's reslience in the face of defeat that ends up being Charles Schulz's enduring message.

Zombieland

Be warned that it is rated R, but it's mostly just for a few swear words and pretty light gore so it's probably OK for most teenagers.  Plus we had to include at least one zombie movie and this comedic take on the genre is refreshing and fun.  It also has one of the best opening sequences in memory with excellent use of graphics, slow-mo and a spot on music choice in Metallica's "For Whom the Bell Tolls".  Most zombie movies have subtexts about something else, such as George Romero's riffs on Cold War politics, and Zombieland is no exception.  At its heart it's really just the story of an anxious young man trying to find his way in the world, which in this case happens to be filled with flesh eating monsters.  Along with the perfect casting choices of Jesse Eisenberg and Woody Harrelson, keep your eyes out for a "killer" cameo in the middle of the movie. 

Addams Family Values

The original Addams Family movie had some predictably creepy laughs but this is the rare case of a sequel that actually surpasses the original.  That's in no small part due to the addition of the comically gifted Joan Cusack as the film's villain.  The Addams' also welcome a new baby, Pubert, and the running gag of his siblings' attempts to kill him comes off as more Looney Tunes than Psycho, which is a testament to the movie's ability to walk a fine line between macabre and funny.  The Burton inspired neo-Gothic production design gives you something to look at as the gags fly by and the cast is having so much fun it's down right infectious, pun intended.     

Home Theater Week in Review, October 24-28, 2011: More Wireless Tech from Lutron.

by Oliver Amnuayphol

Remember the Lutron motorized wireless shades I wrote about in the previous HT blog post? Well that was just the beginning: Check out the RadioRA 2 wireless whole house lighting system featured in Home Theater Magazine this month. What's the big deal, you may ask? Only that the RadioRA 2 system doesn't require any new wiring, so just about any home can be easily retrofited: All that's needed is access to your home's current AC power. Using a proprietary wireless RF technology Lutron calls ClearConnect, the RadioRA 2 system offers lighting control for up to 100 lighting devices, or up to 200 with an additional Main Repeater unit. Options abound for zone lighting and dimming, preset schemes (such as away and vacation modes), and occupancy sensors, and you can even control multiple lighting zones from one keypad/controller. What's more, because this lighting control system allows you to activate only as much lighting as you need/when you need it, using this system will actually save energy and lengthen the lifespan of your bulbs over time. And of course, the RA2 can be used with control apps for both Apple and Android devices, and it even features open integration protocols for use with virtually any device capable of sending and/or receiving RS232 or IP commands to control lights and shades. Yowzers. For all the deets, check out Lutron's informative website here, or Home Theater Mag's review here.

 

Movie Releases for This Week.

DVD: Captain America: The First Avenger; Jurassic Park Ultimate Trilogy; Winnie the Pooh; Island of Lost Souls; Laurel and Hardy: The Essential Collection; Barney Miller: The Complete Series; Attack the Block.

Blu-ray: Captain America: The First Avenger; Jurassic Park Ultimate Trilogy; Winnie the Pooh; Island of Lost Souls; Laurel and Hardy: The Essential Collection;Shaolin; Attack the Block; Identification of a Woman; Tosca; Father of Invention.

Home Theater Week in Review, September 19-23, 2011: Lutron Motorized Shades; Panasonic TH-65VX300 3D Plasma

by Oliver Amnuayphol

 

Looking for a simple way to add some wow to your home theater? Check out these new cordless, motorized shades from Lutron. That's right, cordless! Dubbed Sivoia QS Wireless, the battery-powered system works on a proprietary wireless RF technology called Clear Connect which is also utilized in Lutron's next-gen systems, including Maestro Wireless, Radio Powr Savr sensors, GRAFIK Eye QS, and Radio RA 2. What's more, Sivoia QS Wireless lets you choose between cellular shades and venetian blinds, is scalable from one to multiple rooms, and is available in a variety of color and finish options. Like nearly all Lutron products, the QS Wireless system also integrates seamlessly with other Lutron home automation products. Sivoia Wireless products are available now.

Panasonic recently took the wraps off of their new pro line 65" 3D plasma, the TH-65VX300. Word on the street is this one's a show stopper, possessing excellent picture quality and brightness for such a large 3D display. Designed for broadcast monitoring and high-end custom installations, the VX300 features over 12,000 steps of gradation, can reproduce the DCI color gamut, and is also Rec.709, SMPTE-C, and EBU compliant. What's more, its open-architecture design features circuit-board slots to tailor the number and types of inputs to your liking, and its internal scaler can be bypassed in favor of an outboard model as well. At $6250 MSRP, this panel ain't cheap; but if Panny's history of producing quality-focused plasmas is anything to go by, this model should prove to be a stunner as well. Ships mid-October.

Movie Releases for This Week.

DVD: Transformers: Dark of the Moon; Ben-Hur: 50th Anniversary; Trigun: Badlands Rumble; Nirvana: Live at the Paramount; Treasure Island; The Ledge; Carlos; The Phantom Carriage.    

Blu-ray: Transformers: Dark of the Moon; Ben-Hur: 50th Anniversary; Trigun: Badlands Rumble; Treasure Island; The Ledge; Carlos; The Phantom Carriage.    

Movie Releases for Last Week.

DVD: Thor; The Big Bang Theory: The Complete Fourth Season; Blue Wild Angel: Live at the Isle of Wight; The Dog Who Saved Halloween; Wishful Drinking.

Blu-ray: Star Wars: The Complete Saga; Star Wars: The Original Trilogy; Star Wars: The Prequel Trilogy; O Brother, Where Art Thou?; Trainspotting; The Count of Monte Cristo; Incendies.

All Things Vinyl, July 28, 2011: New Avid Pulsus Phono Stage.

by Oliver Amnuayphol

Ahh, the joys of vinyl. Surely you're reading this blog because you know that good vinyl replay is sonically superior and much more musically rewarding than digital bits in any form--which is why you have the killer turntable, tonearm, and cartridge in your hi-fi rack, no? So if you're addicted to analog, don't forget about the all-imporant last link in the LP playback chain, the phono stage: Using a sub-par phono preamp is guaranteed to reverse a good chunk of the performance you've gained from upgrading your vinyl-spinning rig. And yes, I know I've soapboxed about it countless times before, but seriously, do your records a solid and stay away from cheaply made phono preamps--using one would be like putting bicycle wheels on a Ferrari: You'll simply never get the performance you paid for.

I'm not saying you have to spend obscene amounts of money on a phono stage; the NAD PP3i at under $200, for example, is a stunner: it sounds absolutely awesome for the price, and it even has a USB out if you need to make digital copies of your records. But if you've got the scrilla, something like that stunning Avid Pulsare phono preamp I wrote about in a previous ATV will do as much to peg your analog bliss meter as a similarly priced 'table/arm/cartridge combo, if not more. Of course, at five grand the Pulsare is um, quite ambitious, so if you're looking a little lower down the price range, say hello to its little brother, the Pulsus ($1599). Using trickle-down technology and insight gleaned from the Pulsare, the Pulsus utilizes a similar two-chassis design that separates the phono amplification circuits from the regulated power supply. Gain, capacitance, and resistance are all adjustable via DIP switches located on the underside of the phono pre, and the Pulsus even uses premium caps and Neumann HF correction for its passive RIAA equalization. What's more, the Pulsus can provide up to 70db of gain for low output MCs while maintaining an excellent <-67dB noise floor. Yowzers. And sure, two G's ain't exactly pocket change for a phono stage; but if you luvs the vinyls and spin 'em on a high end rig, the Pulsus should be a great match and quite possibly one of the best sub $2k phono stages yet. Available now.

Home Theater Week in Review, July 4 - July 8, 2011: Marantz NR1602 A/V Receiver Review

by Oliver Amnuayphol

What makes a great A/V receiver? Could it be its size, heft, or weight? Maybe prodigious power reserves, enough to supply a nuclear reactor? Or perhaps the most bells 'n whistles that can be crammed into a single box? While I'm sure there are a great many folks who need a no-holds barred, top of the line A/V receiver, I suspect there are just as many enthusiasts like myself who love the thrill of the home cinema experience but whose systems, for various reasons, are much more modest in stature. Unfortunately for me, my reasons are such that I own a modestly-sized system because I have a modestly-sized space: I've got a bad case of "S.O.S.," or Short-On-Space syndrome.

For most of us, having "S.O.S" spells doom: We usually end up having to sacrifice ultimate performance in favor of compact gear. My own media center, for example, simply won't fit an A/V receiver of standard height and depth. And figuring out a new storage solution for my gear is out of the question: I like my media center. I wanna keep my media center. But I don't wanna give up any performance for the sake of size, either--which meant that, for the longest time, finding a suitable receiver proved difficult. Thank goodness then we started carrying Marantz gear last year: Their receivers have been a huge hit with our customers, perfectly matching our speakers in terms of performance and value.

This fortuitous turn of events also gave me the chance to audition the Marantz NR1601, a sleek 'n slimline, HDMI 1.4a A/V receiver whose rather inconspicuous dimensions of 17-3/8 x 4-3/16 x 14-1/2 inches meant it would fit perfectly inside the space afforded by my entertainment center. Its clean, un-cluttered and curved fascia is much to my liking, and the NR1601 is packed with enough of the latest features home theater aficionados would consider important--including on board Dolby TrueHD/DTS-HD Master Audio processing, Audyssey MultiEQ/calibration, and 3D capability. And lest you think small size also means small sound, think again: The Marantz NR1601 has HUGE performance chops, producing a warm yet detailed, gutsy yet refined sound with power to spare (its 50 x 7 wpc rating really seems quite conservative; I never found myself needing any more wattage). Of course, no entry level receiver is without flaw (for example, its archaic, MS-DOS-inspired on-screen menu can't be used over HDMI), but with a retail price of only $599, the NR1601 is a great value; I liked it so much I decided to buy one for myself.

Fast-forward a year after the NR1601's debut to the present, and Marantz has released an updated version of this svelte receiver, the NR1602. Priced at $649 (only $50 higher than the 1601), its upgrades include built in Ethernet, networking, and Airplay capabilities for streaming media; DLNA compliance; internet and HD radio; and praise be to the A/V receiver gods, a much improved and modern-looking on-screen menu that's usable over HDMI. And while these improvements may seem relatively minor, they've made interacting with the NR1602 an absolute pleasure, firmly placing this receiver at the top of its price class. The only minor quibble I have with the 1602 concerns its remote control: While its functionality is a nice improvement over the 1601, it curiously lacks the previous version's backlighting feature. Not a dealbreaker once you know where the buttons are, but a strange omission nonetheless.

All of which begs the question: Have Marantz sacrificed anything in the way of performance for more features? Thankfully, the answer is not at all: The NR1602 simply builds upon the strengths of the 1601 while retaining its supremely musical and highly involving sound. It was devoid of any major timbral or tonal response errors, and its frequency spectrum was very well balanced from top to bottom. In absolute terms, the NR1602 tilts ever so slightly to the warm side of things, but by no means was this ever cloying; in fact, harsh-sounding recordings were much more enjoyable because of it. A perfect example is "Interstate Love Song" from Stone Temple Pilots' second release, Purple: Here the NR1602 seemed to add a bit more body to the DeLeo brothers' bass and lead guitars than I'm used to, but it delivered the heavily distorted cymbal crashes completely intact and without masking any detail. Turning next to "I am the Walrus" from the recent CD remaster of the Beatles' Magical Mystery Tour, I was impressed to hear how all of the studio effects came through unscathed: This svelte receiver could rock out with the best of them when called for, all the while maintaining perfect control and composure. Also impressive was the way the NR1602 handled music of a more refined nature, such as Hilary Hahn's wonderful SACD of the Elgar violin concerto; listen to how NR1602 communicates all the richness, texture and lyricism Hahn pulls from her violin while never making it sound the least bit strident.

The NR1602 was equally adept at reproducing cinematic soundtracks, often times suprising me with its abilty to deliver a brawny sound when called for. For example, watching the opening car chase scene from Quantum of Solace on Blu-ray for the umpteenth time, I relished in the Marantz' pleasingly rich tonal character and its ability to track dynamic changes with relative ease. What's more, this little Marantz also delivered a consistently clear and reasonably detailed sonic picture regardless of volume, and its absence of any harshness or glare is rare among receivers at this price. Also noteworthy was an unexpected little bonus with the NR1602: For whatever reason, it seems to have a bit more available power, or at the very least a bit more gain, than the 1601: Used with my full Aperion Verus Forte SD 5.1 speaker system (which possess fairly average sensitivity ratings), I can keep the volume control a smidge lower than before (around -30 dB for normal listening levels and -20 dB if I really wanna tear down the walls) and get the same measured SPLs. Indeed, there's plenty of headroom on tap, and there should be more than enough usable power for most average size rooms.

If you're an iPhone/iPad owner and looking to pipe music to your A/V system, the Marantz NR1602 makes streaming music easy via its Airplay feature: I was able to wirelessly stream tunes from my iPhone to the receiver in a matter of minutes; I could also use my iPhone's remote app to control music stored on my computer's iTunes library. As for its video switching/processing capabilities, the Marantz NR1602 was excellent: I found no visible shortcomings with HD over Blu-ray or digital cable, and there were only minor processing artifacts (such as mild jaggies and contouring) when viewing SD cable. Overall I would say the video converter is on par with those in other quality receivers at this price point: It won't do anything magical to your video signals, but it won't harm them, either.

No doubt about it, I'm completely smitten by the Marantz NR1602: It's a heck of a fine receiver, perfect for today's multi-use, networked and integrated home entertainment systems. No other reasonably-priced home theater receiver that I'm aware of offers this combination of sound quality, features, ergonomics, and honestly rated power in such a decor-friendly package for such a low price. And sure, if pressed I'll tell you there are some slight sins of omission with this receiver (as there are with all budget receivers), but the NR1602's shortcomings are so minor that I couldn't imagine anyone shopping for a receiver in this price range not being perfectly happy with it. If you need an A/V receiver that's small in size but big on performance, look no further: The Marantz NR1602 is sure to please.

Verus Grand Towers: Here Come the Reserves!

by Aperion Audio

If you've been keeping up with Aperion Audio you know that we launched our new Verus speaker line late last year.  So far the response has been overwhelming, with respected audio authorities like Audioholics giving the Verus line great reviews.  Not only that, but the orders have exceeded our projections to such a degree that it has been difficult for us to keep them in stock.

But do not fear, help is on the way!  Yesterday we received a massive order and are now fully in stock for the cherry finish.  While all the black finish Verus Grand speakers went out the door, another order will be arriving in just a couple of weeks at the beginning of July.  Once that arrives it should be smooth sailing with no more prolonged stock outages.

So let us take this opportunity to thank everyone who placed orders and were patient while we waited for their Verus Grands to arrive.  We greatly appreciate it!

If you are still on the fence feel free to give us a call at 888-880-8992 or e-mail us at [email protected] to talk things over.  Thanks and happy listening!