Teen: In Limbo
Other than the fact that they’re a bunch of cute girls with a suitably high level of cute-girl energy, Teen isn’t the sort of band I typically get into. They’re not rapping about sex and money; they’re not just turning knobs on analog synths or chopping up bits of field recordings; they’re not sampling obscure 78s; they’re not playing 24 saxophones at once; they’re not making their guitars sound like vacuum cleaners; they’re not really lo-fi, but they’re certainly not hi-fi; they’re neither terribly weird nor completely normal. They’re somewhere in between. And, if you know me, you know that I tend to run screaming from that sort of thing. But there’s something about Teen’s sound, despite the fairly straightforward instrumentation (guitars, drums, keys, voices, percussion) that keeps me coming back.
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That, by itself, is probably reason enough to buy the record, but I remain conflicted.
I've never written a love story before, but then, there's always a first time. This romance concerns the stunningly anthropomorhic 
According to designer Bill Reed, the Nelson-Reed 8-04/B was not originally intended to be an audiophile speaker system, but was instead designed as a high-quality monitor for the critical recording engineer who wanted to be able to walk from the studio into the control room and hear the same thing from his speakers that he heard "live." The fact that modern studio mike technique ensures that this could never happen is probably beside the point. The point is that reproducing the original power and dynamic range of live music is a formidable challenge, which practically no audiophile speakers have met successfully. On the other hand, so-called studio monitors, which can do that routinely, have tended to be highly colored and otherwise generally lousy in all areas of fidelity except output capability. The 8-04/B was an attempt to combine the strengths of both kinds of speaker, while avoiding their usual weaknesses.