Actually, Sony would prefer that you call its branded vending machines "automated kiosks." And the machines' maker, Zoom Systems, refers to them as "robotic stores." Whatever you call 'em, the Sony Access units are currently being test-marketed in various locations, including: • Malls: FlatIron Crossing (Broomfield, Colorado), Mall of Georgia (Buford), and Santa Rosa
Talk about A road to nowhere ... I'm sitting in Sterling Sound, one of the foremost mastering studios in New York City (make that "the world"). And everywhere I look, I see a high-tech wonderland - except outside the huge window, where everyone can see the remnants of the High Line.
"I was born in Budapest in 1919 into a music-loving family."
So begins George Jellinek's own account of his musical life, as it appeared in the January 1976 issue of our predecessor, Stereo Review - a magazine for which he wrote from 1958 to 1999.
As we noted in "Feedback" in our June/July/August 2010 issue, we are indeed sad to report the death in January of a man who covered classical music for this magazine for 41 years.
Vampire Weekend (above), the buzziest of current buzz bands, was one of the hot acts I caught at the South by Southwest Music & Media Conference. For 4 nights in 80 venues, the Texas town of Austin - the self-proclaimed Live Music Capital of the World - hosted the biggest music festival in the world.
Back in NYC - after 9 days and nights of SXSW Music, Film, and Interactive in Austin, Texas - I finally have time to mull over the 21 acts I managed to see during the music portion of the festival.
That perfect 21 might suggest that I had a lucky hand at SXSW this year. But as is the case every year, I heard much that was good and some that was . . . not.
The scene: the London Planetarium. A fitting venue to visit The Dark Side of the Moon. But it's 1973, and this is the album's maiden voyage. And a quadraphonic mix, not approved by Pink Floyd, is being played on terrible, destined-to-be-forgotten speakers. The band members decline to attend and are represented by cardboard cutouts.
To say "The Blu Album" is not to suggest that Steven Wilson's Grace for Drowning (Kscope) is as wildly diverse as the Beatles' "White Album" - even if Wilson rightly calls his own double-disc set "more experimental and more eclectic" than his previous solo outing, 2009's Insurgentes, with jazz and classical influen
To say “The Blu Album” is not to suggest that Steven Wilson’s Grace for Drowning (Kscope) is as wildly diverse as the Beatles’ “White Album” — even if Wilson rightly calls his own double-disc set “more experimental and more eclectic” than his previous solo outing, 2009’s Insurgentes, with jazz and classical influen