Welcome back one and all to the latest weekly installment of Spatial Audio File. As a card-carrying Spatial Audiophile, it's my sacred honor to select five (count ’em) prime Spatial Audio releases on Apple Music by vetting and recommending key individual tracks and (every now and then) full albums via deep-dive listening sessions on my home system and headphones alike. What you will find here is the very best in the immersive Spatial Audio and Dolby Atmos universe that’s available in the ever-expanding Apple Music library so you can experience the aural wonders of it all for yourself.
Besides having one of the coolest band names ever, Van der Graaf Generator has been making deeply adventurous music since the late ’60s in a style that, frankly, is hard to pigeonhole. Sure, it’s easy to call what they do “progressive,” but I’m inclined to agree with VdGG guitarist/vocalist Peter Hammill, who describes VdGG music as being “barely controlled chaos.” It’s also a good way to define VdGG’s recently released 13th studio album, Do Not Disturb (Esoteric Antenna). I connected with Hammill to discuss the sonic template for DnD, what it’s like to be admired by a punk legend, and VdGG’s possible future (or not).
We talked to Steven Wilson a couple of weeks ago about his forthcoming - and groundbreaking - new Blu-ray release, Grace for Drowning. Fittingly, we offer you, the Sound + Vision and Steven Wilson faithful, an EXCLUSIVE look at the aptly titled "Track One," the third song on Disc 2.
We talk with Wayne Coyne of The Flaming Lips about their current concept release, King’s Mouth: Music and Songs, incorporating stereo-friendly elements into a mix, mastering the lost art of the song transition, and why having a great drummer is crucial to a band’s long-term success.
It may only be the middle of July, but it already feels like Christmastime ’round the hallowed S+V office halls. How come? Well, the evidence is right there before your eyes — to wit: the all-new, all-awesome Sound + Vision Web site!
British supergroup Asia consisted of four virtuosic musicians who shared an uncanny knack for distilling their progressive-leaning chops into pop rock for the masses. The evidence is on full display all over their chart-topping self-titled March 1982 debut album, and the Atmos version of its popular lead track “Heat of the Moment” makes it even more appealing across the board.
“We were all vinyl junkies,” said Robert Plant at a packed press conference immediately following the screening of Led Zeppelin’s new live concert film Celebration Day at the Museum of Modern Art in New York on October 9.