LATEST ADDITIONS

Returnal (Editions Mego EMEGO 104), the fourth full-length release from Oneohtrix Point Never, explodes into the listening room (or out from the speakers or out from the headphones) with real violence and penetrating force. We are thrust into a heavy storm, a maelstrom; we find ourselves standing beneath an ocean of falling glass, falling sky, falling electronic haze. If instruments could scream, their screams might sound like this, like the opening few moments of Returnal, moments that don’t seem like an opening at all, but someplace else, some other time that escaped us, that started without us, before we were ready. I don’t mean scream in the way that guitars and saxophones and other instruments can and do scream. I mean that if instruments could be dealt such pain that they were brought to life, given sentience, to wail with wonderful suffering, it might sound like this, like the opening few moments of “Nil Admirari.”

Looking back at the 2010 CEDIA Exposition, I was struck by a couple of new products which, I hope, presage a rethinking of modern electronics design. Today, the streaming of program content can be accomplished by TVs, by Blu-ray players, by dedicated servers and, for all I know, someone will put that capability into a speaker system. The result is that, unless one chooses very carefully, one will be buying the same technology redundantly. By contrast, high-end companies have striven to separate their dedicated analog/stereo products from their digital/multichannel products, forcing the very picky among us into a kludgy home-theater-bypass. Again, we end up buying more boxes and interconnections than should be necessary.

I start my second report from the 2010 CEDIA Exposition by returning to <B>MartinLogan</B>. As well as their $2000/pair ElectroMotion electrostatic hybrid that I described in my first report from CEDIA, the Kansas company showed the appealing new 2-way Theos. This hand-built floorstander combines a 9.2"-wide by 44"-tall XStat electrostatic transducer with a 8" aluminum-cone woofer in a bass reflex enclosure. Its large electrostatic radiator and passive woofer can be bi-wired or not with a unique tool-less binding-post design. At $5000/pair, the Theos will be the most affordable speaker in the Reserve Series of floorstanders.

<a href="http://www.stianwesterhus.com/">Stian Westerhus</a> plays guitar in a band called Puma. Having enjoyed Puma’s latest album, <i><a href="http://blog.stereophile.com/stephenmejias/puma_half_nelson_courtship/">… Nelson Courtship</a></i>, a powerful assault on the senses, I was anxious to hear Westerhus’s solo work. I expected something brutal&#151even something frightening, something perhaps verging on the unlistenable&#151but Westerhus’s second solo LP, <i>Pitch Black Star Spangled</i> (<a href="http://www.runegrammofon.com/">Rune Grammofon</a> RCD 2099/RLP 3099), is something else, something more.

Despite predictions to the contrary, the Compact Disc isn't dying anytime soon. Too many are in circulation, and until a smooth, friendly skin covers the computer interface, the music-server revolution will remain nascent. We're still in a long, shaky period of transition.

The flipside to last week's question is hard to resist: Are there any artists (living or dead) that you go out of your way to avoid collecting?

Sony/Legacy’s 40th anniversary, deluxe reissue of <I>Bitches Brew</I>, Miles Davis’ landmark fusion double-album, is everything that the company’s 50th anniversary reissue of <I>Kind of Blue</I> tried to be but wasn’t: a fitting commemoration, handsomely packaged, with liner notes by a scribe (Greg Tate) who fully grasps the music and its cultural significance, and—a remarkable achievement—a boxed set that warrants tossing the original out.