London-based Vondelpark is Lewis Rainsbury (vocals, production, bass, guitar, keys), Alex Bailey (bass), and Matt Law (keys). Their debut album, Seabed, will be released by R&S Records (In Order to Dance) on April 2nd.
Tales of a GrassWidow, CocoRosie’s fifth full-length album and first since 2010’s excellent Grey Oceans, is scheduled to be released on May 28th. The album is being self-released, features appearances by Antony Hegarty, and was produced by CocoRosie with extraordinary Icelandic composer Valgeir Sigurdsson—so I expect greatness in sound and music.
A few weeks ago, I wrote about Cassettivity, the new cassette-only distribution site. At the time, Cassettivity had 10 labels on its roster; now it has 14. You can also now sort Cassettivity’s offerings by “ease of listening." I think that’s cool. Currently, Cassettivity’s easiest listening experience can be found in Manchester’s The Potomac (Sixteen Tambourines), while the hardest comes via Yvonne Lovejoy’s Voice Studies 8: This is Yvonne Lovejoy (My Dance the Skull).
In one sense, Richard Vandersteen has been the victim of his own success. His Model 2 loudspeaker (footnote 1), introduced at the 1977 Consumer Electronics Show, put his company on the map but proved a hard product to improve on. Based on the idea that the HF and midrange drive-units should have the minimal baffle area in their acoustic vicinity, both to optimize lateral dispersion and to eliminate the effects of diffraction from the baffle edges, the Model 2 also used a combination of a sloped-back driver array and first-order crossover filters to give a time-coincident wavefront launch.
It's been 30 years since I began work on my very first equipment report, of the Goldbug Brier moving-coil phono cartridge, for Hi-Fi News & Record Review. That review appeared in the British magazine's May 1983 issue; I have lost track of how many equipment reviews I've written since then, but my review of the Vandersteen Treo loudspeaker in this issue is at least my 500th.
A recent survey of my teenaged nephew and his friends turned up a number of musical trends both predictable and surprising. It sent them into paroxysms of disbelief and laughter when the old-man uncle asked whether they liked any guitar bands, like, say . . . Green Day. Guitar bands, to say the least, ain't cool. Pop-oriented hip-hop artists like Wiz Khalifa are. So are white, pop-rock "country" singers like Jason Aldean, whom teenaged boys, even in the age of piracy, continue to spend money on, be it downloads or a CD to rip.