MUSIC DISC REVIEWS

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Mike Mettler  |  Aug 25, 2011  |  0 comments

We bring you, at last, the full version of our talk with Henry Rollins that ran in the September print and iPad editions of Sound+Vision. Enjoy!

Mike Mettler  |  Aug 25, 2011  |  0 comments

We bring you, at last, the full version of our talk with Henry Rollins that ran in the September print and iPad editions of Sound+Vision. Enjoy!

Michael Berk  |  Aug 25, 2011  |  0 comments

To celebrate Buddy Holly's 75th birthday (coming up September 7th), online music creation marketplace Indaba Music has launched - oddly enough, though it is the business Indaba is in - a remix contest, inviting contestants to take on Jenny O's version of Holly's "I'm Gonna Love You Too."

Jeff Perlah  |  Aug 19, 2011  |  0 comments

Watch out, hip-hop: If you don’t stay on top of your game, you might get bumped out of the limelight by other forms of pop music. That’s the meaning behind the title of Jay-Z and Kanye West’s brash, lavishly produced collaboration, as Jay himself has acknowledged.

Michael Berk  |  Aug 16, 2011  |  0 comments

District 97 has won over some impressive fans. Bill Bruford and John Wetton have been singing the praises of the band's debut, Hybrid Child. And S+V's editorial staff was equally unable to resist the Chicagoans' progressive pop in selecting the band as our first Breaking Out contest winner.

Mike Mettler  |  Aug 16, 2011  |  0 comments

YOU’RE SCRAMBLING NOW, thinking, Wait — I recognize her . . . don’t I? Yes — yes, you do. Can’t quite place her though, hmm? (She might actually appreciate that; she doesn’t like or seek being typecast.)

Robert Ripps  |  Aug 07, 2011  |  0 comments

Murray Perahia’s recordings of Bach’s Keyboard Concertos, originally released from 2001 to 2003, have now been reissued in this specially priced Limited Edition three-CD set (with a new essay by Jeremy Siepmann) — and if you missed them the first time around, do not make that mistake again.

Billy Altman  |  Jul 29, 2011  |  0 comments

Throughout its long history, country music has often found itself staring at the mirror and trying to make sense of the reflection.

Michael Berk  |  Jul 28, 2011  |  0 comments

While Spotify and MOG have been getting the lion's share of the press, Rdio has been running a perfectly useful little subscription streaming music service for almost a year now. Overlooked by many (admittedly, even by S+V) in the glare surrounding the arrival of Spotify in the U.S., Rdio is now poised to be the first streaming service to release an iPad app.

Michael Berk  |  Jul 26, 2011  |  0 comments

Jane's Addiction is back in action, with a brand-new album on the way and a tour in progress.

Leslie Shapiro  |  Jul 21, 2011  |  0 comments

Sad news in the headlines this week. We all mourn the passing of Borders Books, not just one of the last megabooksellers, but one of the last that also sold music. Who’s to blame? I blame my mom.

Mike Mettler  |  Jul 07, 2011  |  0 comments

Dave Grohl and I are crouched together on a hot blacktop driveway that encircles the SoCal locale where the photo session for this exclusive S+V cover story is taking place. To the onlookers who shuffle past us and sometimes hover at a respectful distance, it appears as if these two hunched, animated, close-talking bearded longhairs are plotting to take over the world — and perhaps that’s not an entirely wrong assumption.

Robert Ripps  |  Jul 02, 2011  |  0 comments

“I sometimes think I should’ve been a filmmaker rather than a musician.”

So says Michael Tilson Thomas, conductor and music director of the San Francisco Symphony.

Robert Ripps  |  Jun 22, 2011  |  0 comments

Back in September 2002, I interviewed Michael Tilson Thomas about the launch of a bold new project with the San Francisco Symphony: a complete cycle of the Mahler symphonies to be released on hybrid multichannel SACD via the orchestra’s fledgling in-house label, SFS Media. At the time, Thomas already had clearly formed ideas about the sound he wanted:

Robert Ripps  |  Jun 20, 2011  |  0 comments

Robert Ripps: From your perspective, how has Keeping Score evolved since its 2004 premiere, both artistically and technologically?

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