LATEST ADDITIONS

Every product listed here has been reviewed in Stereophile. Everything on the list, regardless of rating, is genuinely recommendable. Within each category, products are listed by class; within each class, they're in alphabetical order, followed by their price, a review synopsis, and a note indicating the issues in which the review, and any subsequent follow-up reports, appeared.

One thing that interested me about the StormAudio ISP Evo is that, despite its obvious hi-fi function, it's more like a computer than a typical "prepro." While it does offer a few "legacy" analog inputs, it is for the most part all-digital, input to output, including network connections on both ends. Consequently, it is less likely to leave sonic fingerprints on the music than devices that convert digital to/from analog or modulate their signals with active amplification or attenuation. It is notable that, despite its audio function, the Storm completely lacks traditional audio specifications—distortion, dynamic range, and so on.

Yes, that aspect of the product was appealing, but the real trigger for me was that when I began this review, the StormAudio ISP Evo was the only consumer device to fully incorporate the latest version of Dirac Live Active Room Treatment (ART).

Wagner: Famous Opera Scenes
Nikolai Lugansky (piano)
Harmonia Mundi HMM 902393 (CD). Nicolas Bartholomée, prod.; Bartholomée, Ambroise Helmlinger, engs.
Performance ****
Sonics *****

Concert arrangements of operatic themes for piano, like Liszt's famous concert paraphrases, obviously provide an opportunity to display one's virtuosic keyboard technique. As Denis Morrier's program note for Harmonia Mundi indicates, however, transcriptions of Wagner served a second important purpose: spreading awareness of the composer's operas when they only played in a limited number of venues. There was no Spotify or Idagio back then!

Rufus Reid: It's the Nights I Like; Frank Sinatra: Sinatra Platinum; Bill Anschell: Improbable Solutions; Nitai Hershkovits: Call on the Old Wise.

John Prine: John Prine; Bob Dylan: The Complete Budokan 1978; Jimi Hendrix Experience: Jimi Hendrix Experience: Hollywood Bowl August 18, 1967; The Johnny Winter Story (The GRT/Janus Recordings).

Steven Wilson loves changing the minds of spatial audio skeptics. He's the go-to Dolby Atmos and 5.1 mixmaster for many heritage artists, new-wave bands, and alternative acts. Best known for leading the post-prog collective Porcupine Tree, releasing a score of genre-stretching solo albums, and serving as a key creative contributor to such experimental groups as No-Man and Blackfield, Wilson's approach is simple: bring them into his studio and let the music do the talking.

There's a famous quote by Lenin, that revolutions cannot stand still; they have to move forward. I'm guessing he wasn't talking about the British punk explosion, but it's applicable. There was a period of time around 1978—when that initial Sex Pistols thrill had subsided—when I thought it was stalling. The new bands started sounding dull, derivative. In all probability, I just had unreasonable demands: that a band should produce iconic albums weekly. I was 17, had just started work, and pretty much thought the world was there for my personal amusement.

Then from the pages of my holy book—New Musical Express—came news from Scotland. Shamefully, back then, my awareness of Scottish music began and ended with Nazareth and the Bay City Rollers. But the NME journos were excitedly talking about two new record labels recently set up north of Hadrian's Wall: Fast Product and Postcard.