Burgeoning fan-oriented livestreaming platform Mandolin is making all the right moves when it comes to offering high-quality live music options for home consumption.
What becomes an iconoclast the most? Some pop culture icons stand the test of time (The Beatles, The Godfather), while others only capture the zeitgeist of the era/movement they oh-so perfectly served (Strawberry Alarm Clock, we hardly knew ye!).
And then there are those larger-than-lifers who ride the sine wave of the popularity index, depending on which way the cultural-acceptance winds are a-blowing at any given moment.
The Beatles’ Revolver further solidified the creative validity of the rock album format when it was released in August 1966. Seeing how Revolver’s Super Deluxe Edition multidisc LP/CD box set incarnations have been officially released via Apple/UMG today, October 28—not to mention the inherently excellent Revolver Atmos mix by producer Giles Martin concurrently being made available digitally—I had to find out why I needed to get that Atmos mix into my listening life. Therefore, Martin and I got on Zoom together recently to discuss exactly that. He also shared with me what his late father, original Beatles producer George Martin, thought of his multichannel mixing skills. These are all perfect topics for this month’s Spatial Audio File (he said he said), so read on, read on. . .
"To be played at maximum volume." So went the listening instructions appearing in all caps near the bottom left of the back cover of David Bowie's June 1972 career-defining dystopian space-glam saga, The Rise and Fall of Ziggy Stardust and The Spiders From Mars.
Subtitle it, Let It Breathe. When The Beatles: Get Back initially aired across three consecutive nights on November 25, 26, and 27, 2021 on the Disney+ streaming platform, it was, to say the least, a cultural phenomenon. Not only did Get Back grant a new generation access to many of the sights and sounds required to understand the full scope of the ongoing impact of The Fab Four to this day, but director Peter Jackson's almost-8-hour docudrama also served as a redemption of sorts for the lingering, decidedly mixed reactions to the 1970 band documentary directed by Michael Lindsay-Hogg, Let It Be.
Porcupine Tree returns after a decade-long hiatus to deliver a career benchmark, Closure / Continuation. All three bandmembers give us the scoop on how it all took root, and Steven Wilson takes us inside the making of the album’s truly stunning Dolby Atmos mix.
As August comes to a close, it’s time for the first monthly installment of our ongoing Spatial Audio File column. As always, I’ve thoroughly spec’ed and checked all five tracks I’ve selected here by way of my personal deep-dive listening sessions on both my home system and headphones alike. You’ll find each and every one of them amidst the cavalcade of Made for Spatial Audio and Dolby Atmos tracks within the ever-expanding Apple Music library.
With the fall season seemingly right around the corner, let’s take one more summer spin together and check out this month’s fine quartet of truly immersive tracks, which are. . .
The key to the enduring appeal of Black Sabbath’s career-making second album, September 1970’s Paranoid, doesn’t only reside within its fist-pumping, headbanging, metal-genre-establishing bonafides. Actually, the secret sauce can be found via something you may not have even considered — Black Sabbath’s inherent sense of melody. And where might that come from, you ask? Two words — The Beatles.
I don’t know about you, but I love hearing what I call “the humanity of performance” while listening to music. What I mean by that is, whenever I hear singers take breaths before or after they sing their lines (or even when they do it in the middle of them!), and/or I discern things like chairs scraping across floors or fingers moving across fretboards, I’m totally cool with it.
These recording elements all give me a sense of space (i.e., where the recording took place and the proximity of those involved) and even the character of the performers, to some degree. Certain producers like their recordings to be more insular than that, which is certainly fine in isolated cases—but the more “real” a recording is the better, imo.
The reason I bring this up is there are plenty of human elements involved in the five tracks I’ve selected for this week’s Spatial Audio File. As always, I’ve thoroughly spec’ed and checked each track by way of my personal deep-dive listening sessions on both my home system and headphones alike. You’ll find each and every one of them amidst the scores of stellar Made for Spatial Audio and Dolby Atmos tracks within the ever-growing Apple Music library.
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Let’s all now plug directly into the inherent sonic sea of humanity at hand as we collectively check out this week’s five-spot of truly immersive tracks, which are. . .