So, I cued up what has become one of my favorite albums for reviewing playback system's Pink Floyd's Dark Side of the Moon. The new remastered version not only sounds somewhat better, in my opinion, than the original, but it also offers a chance to see how well the system is able to resolve lower bass and reproduce it.
Since it starts out very low in the bass region, many amplifiers tend to have problems meeting the requirements to allow the speakers to fully reproduce the selection until it reaches a somewhat higher volume and has greater detail.
Although nearly inaudible at first, it was almost immediately apparent what the sound would resolve itself into and even at its lowest levels the amplifier was able to keep up with the power requirements. As the level increased and the sound grew louder the system only became more transparent and able to resolve the following music into a holographic tapestry that reviled any that I have heard. Although the SACD two-channel and multi-channel versions of the same passage do tend to have slightly more detail than the CD version, neither seemed to sound as good as it did on this playback system.
The second track that I used to evaluate the system was number five, " Money". While the track is not as difficult as some others on the album on some levels, the ability of the system to resolve the music into distinct channels and then move the sound realistically between them is often a challenge. This is especially true when it ' s heard at higher volumes. In fact, the realism and definitive and distinct separation was handled extremely well.
Although it normally sounds far better using headphones, in this case there was enough separation and combination that they were not needed. In my experience very few systems are able to reproduce so many different kinds of music without having some sacrifices. Before finalizing my review, I decided to try one last test on the equipment. Until the end I had been utilizing my Wilson speakers, but I switched them with my Martin Logan speakers to see what it would do to the ultimate quality of the playback.
Of course there was a second reason, which is the Martin Logan speakers require far more power and tend to be much harder on an amplifier, but at the same time they can also be far more musical and transparent in their reproduction. The end result was that I can honestly say I have never heard the Martin Logan speakers sound quite so good.
The amplifier, which is rated at watt on 4 Ohms, had absolutely no problem powering the speakers at even somewhat higher volume levels. The bass, which can sometimes become anemic, was full, rich and sounded amazingly detailed. The Conclusion There is always a downside to doing a review of high end audio equipment and that tends to be the price. Unfortunately the system as it was configured is likely beyond most people's means, but it nevertheless represents a serious value.
I would wholeheartedly recommend it against systems costing double without a second thought. If you are looking for a high end audio system, you owe it to yourself to give this playback system a real chance, and imagine this is really only their entry level.
Retrieved 6 April Offizielle Deutsche Charts in German. Media Control Charts. Archived from the original on 28 March Polish Society of the Phonographic Industry. Official Charts Company. Retrieved 11 July Archived from the original on 6 July Ultratop in Dutch. Like this kind of stuff? A song like the opener "imagine," with its clicking percussion and soaring hook, elegantly moves between moments of intimacy and widescreen catharsis. Tracks like the skittering "bad idea" and the Rodgers and Hammerstein-interpolating "7 rings" perform similar pivots in perspective.
Even if the slapdash quality to some of the songwriting, likely due to the lightning-quick manner the album was recorded and produced in, makes it less satisfying than Sweetener, the music on thank u next has a propulsive energy that distinguishes it within Grande's increasingly impressive catalog.
Release date: July 26 Record label: Self-released Why it's great: Following the release of Chance the Rapper's The Big Day , his first "studio album" following the blockbuster solo mixtapes Acid Rap and Coloring Book , it wasn't terribly uncommon to see the nostalgia-loving, Arthur -referencing Chicago artist ridiculed online for what could be generously called an excess of positivity.
But the record is also more musically eclectic and thematically varied than its one-note reputation would suggest, with songs like the backward-looking "Do You Remember," with that soothing Ben Gibbard chorus, and the forward-looking "5 Year Plan," which includes a Randy Newman cameo, stretching the central conceit way beyond a single day.
If you've found yourself on Chance's wavelength in the past, it's worth giving this album a closer look. Though the songs on gecs , the debut full-length from the pair, are mercifully short, they're also incredibly dense, like staring at a browser window with hundreds of tabs open at once. The singalong gambling narrative "stupid horse" borrows liberally from pop-punk and ska, finding giggly energy by sardonically repeating "lost the money in my bank account, oh no.
Does it sound a little exhausting? It can be, especially on first listen, but keep sifting through the junkyard and you'll likely stumble on the earworm you're looking for. In his folk-rock group Bright Eyes, his punk band Desaparecidos, and on his multiple solo records, he's looked at emotional distress from an array of creative vantage points.
One of my favorite Oberst songs sounds like it was recorded under a sheet of slowly cracking ice. Understandably, year-old singer-songwriter Phoebe Bridgers has a shorter resume, but her debut Stranger in the Alps explored similar thematic terrain with dark humor and psychological acuity that propelled her into the new indie darling spotlight. For their collaborative project, Better Oblivion Community Center , the two have crafted a moving, eclectic collection of songs that range from stark, haunted folk ballads "Service Road" to rollicking, jangle-rock head-nodders "Dylan Thomas".
Trading backing vocal duties and swapping tales of woe, the pair puts a joyful, resilient spin on the old "misery loves company" proverb: It turns out misery loves collaborative side projects, too. The pair's third record, What Chaos Is Imaginary , is yet another thoughtful, considered broadening of their musical scope, stretching out to 14 tracks and incorporating a wider range of instruments, including synths and strings.
Tucker, who came out as transgender in and began hormone replacement therapy, now has a deeper vocal range, which makes a track like the whirling alt-rock-inflected "Hire" stand out in new ways from the band's older work. Throughout the record, the duo's gift for crystallizing complex feelings into poetic phrases remains, like when Tucker gets downright metaphysical and sings of revoking "the time and space for you to just feel it in your name.
Release date: April 26 Record label: Interscope Why it's great: Shorter and nimbler than his previous records, Crash Talk finds TDE's hedonist-turnedsomething-dad-rapper Schoolboy Q easing into his lane as one of the most reliable hip-hop shape-shifters on the West Coast. He sounds equally self-assured on a tough-talking single like "Numb Numb Juice" as he does on an eerie deep-cut like "Water," which uses whispers and space to convey a sense of dread.
Drawing less from his turbulent youth and more from his life as a weary rap star, Q knows that his elastic, authoritative voice is still the main drawing point, and he's recorded over a dozen bass-filled tracks that let him snarl quotables like, "I been counting dead men, puttin' bodies in the safe. Crash Talk sacrifices focus and cohesion to deliver pleasure and enthusiasm, pushing the listener to just embrace the habits and contradictions that have made Q such a compelling artist from the jump.
Tricked out with Biblical allusions and synths that sound beamed in from the heavens, the album immediately establishes a somber, haunted mood on the opener "thousand eyes," which finds her mourning the end of a relationship by singing, "It's gonna be cold without those eyes. Towards the end of the galactically-minded "fallen alien," which recalls the work of Bjork or Kate Bush in its adventurousness, she calls out "I feel the lightning blast," perfectly encapsulating the appeal of this striking, electrifying collection of songs.
Release date: June 21 Record label: Epitaph Records Why it's great: Expanding on the ultra-compact minute runtime of 's Romantic , Patience finds Philadelphia punk band Mannequin Pussy staying true to the promise of their latest LP's title. It might require a bit more concentration, delaying the noisy catharsis occasionally, but the wait is always worth it.
At over 25 minutes, the new record doesn't do away with the exploding riffs, pounding drums, and screaming vocals from lead singer and guitarist Marisa Dabice, who continues to write lyrics of poignant specificity and emotional acuity.
But it does find moments for a song like "High Horse," a slow-building and swirling depiction of an abusive relationship summed up with the image of a "world on fire. Release date: October 4 Record label: Warp Why it's great: Though he's capable of twisting his voice in many discombobulating ways, Danny Brown essentially has two modes of attack: a high-pitched sing-song cadence and a low-pitched growl-like bark.
It's hard to predict what the Detroit-born rapper will sound like on a given track, verse, or line. After 's thematically bleak, musically scrambled Atrocity Exhibition , Brown has created a sly, eyebrow-raising album that lets him revel in the joys and intricacies of performance. He's referred to this record, which was executive produced by A Tribe Called Quest's Q-Tip, as his "version of a stand-up comedy album.
But the peak of the record comes on the last track "Combat," which finds Brown rapping over a squealing trumpet loop about the hope to "live on through my music. Release date: March 22 Record label: Sub Pop Why it's great: Singer-songwriter Orville Peck likes to obscure his face, often donning a leather-fringe bandit mask to go along with his increasingly on-trend cowboy hat.
Though the costume might call to mind Sia's fame-thwarting wigs or the goofy identity-obscuring get-ups found on FOX's dystopian singing competition show The Masked Singer , Peck's fashion choice has a theatrical wryness to it that doesn't feel derivative or overly referential.
Similarly, his music -- cosmic country songs about lonesome drifters and gay hustlers sung in a deep baritone -- has a brooding tenderness that might remind listeners of "Wicked Games" crooner Chris Isaak or Fables of the Reconstruction- era R.
The band has thus created a style all its own, blending acoustic, electric and electronic influences. Plantec have just released their tenth album; it is their seventh studio album, called Hironaat, which means mixed, hybrid. It is an album that skilfully blends sounds and cultures. An album that tells the story of a life journey: birth, discoveries, experiences, transmission and death. Cross cultural fusion is ever present here, with the many guests who took part in the recording: Jack and Yuji, two Japanese musicians who play the shamisen, a traditional stringed instrument on the track Hajime.
Enough to give you ants in your pants! Animal energy, wild dances, guests from the four corners of the world. An album of Trad Electro from Brittany, full of sounds without borders. A real success. Log in. Intro back to list. RENO Album version She took off her stockings, I held them to my face She had your ankles, I felt filled with grace "Two hundred dollars straight in, Two-fifty up the ass," she smiled and said She unbuckled my belt, pulled back her hair And sat in front of me on the bed She said, "Honey how's that feel, do you want me to go slow?
It uses the same music as RENO but different lyrics.The album which is an album containing a great deal of saxophone music as the band suggests is a great example of how various saxophones can not only make a beautiful combination, but with the right playback system, allow the listener to actually experience the attack and decay of various instruments.