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MUSIC<br />
Appearances<br />
can be deceptive.<br />
Rega products are elegantly simple in appearance. Deceptively so, in fact. Everything is<br />
straightforward to setup, easy to use and utterly consistent in performance.<br />
Yet underneath that apparent simplicity lies some of <strong>the</strong> most radical thinking, advanced<br />
engineering and innovative materials development you’ll find anywhere.<br />
Record Decks<br />
CD Players<br />
DACs<br />
Amplifiers<br />
Loudspeakers<br />
THE<br />
ORGANISATION<br />
Based on 40 years of continuous research and unwavering<br />
commitment to UK manufacturing, everything Rega does is <strong>the</strong>re for<br />
one reason alone.<br />
Quite simply, if it doesn’t sound better, it doesn’t happen. (If it does<br />
sound better, but is considered ‘impossible,’ <strong>the</strong>y’ll figure out how to<br />
do it anyway. There’s a very good reason <strong>the</strong> company’s named Rega<br />
Research).<br />
Rega’s view is that hifi’s simply a tool for listening to your music.<br />
So we think you’ll quickly forget all about <strong>the</strong> technology.<br />
But we’re 100% sure you’ll remember <strong>the</strong> performance.<br />
The Sound Organisation • facebook.com/TheSoundOrganisation<br />
• call: 972.234.0182 • email: info@soundorg.com • website: soundorg.com<br />
@Photo by Nadia Romanini<br />
But this time out, Strønen tried<br />
to capture something slightly<br />
more focused than <strong>the</strong> inspired<br />
ramblings of <strong>the</strong> past, and he<br />
brought <strong>the</strong> files back to his home<br />
studio for editing. Fragments were<br />
looped and phrases realigned<br />
to concoct new textures or recontour<br />
melodies. Call it a 2015<br />
extension of Teo Macero’s work<br />
with Miles Davis’ electric stuff and<br />
deem <strong>the</strong> result a second cousin<br />
to Brian Eno’s Music for Films.<br />
A vibe of gentility courses<br />
through <strong>the</strong> program, but <strong>the</strong>re<br />
are moments when everything<br />
leans forward, too. “Where <strong>the</strong><br />
Dry Desert Ends” steamrolls<br />
with a cascading synth riff. A<br />
thick Fennesz guitar lick brings<br />
a tasty hook to <strong>the</strong> hubbub of<br />
“Sinking Gardens of Babylon.”<br />
Interplay is not forsaken; it’s just<br />
stacked according to Strønen’s<br />
design sense. His electronics get<br />
nudged to <strong>the</strong> fore here as well,<br />
and <strong>the</strong>y temper <strong>the</strong> final result<br />
as much as Ballamy’s sax does.<br />
This isn’t <strong>the</strong> first electro-acoustic<br />
session to turn heads with its<br />
articulate manipulation of textures.<br />
Forebears exist in Wayne Horvitz’s<br />
moody pieces with <strong>the</strong> President<br />
and <strong>the</strong> Nine Below Zero trio. But<br />
This Is Not a Miracle is definitely a<br />
memorable one.<br />
Clatter has a sensual side. Hiphop<br />
taught us that years ago, and<br />
<strong>the</strong>re are several instances where<br />
I can hear an R&B futurist like FKA<br />
Twigs spitting a rash of whispered<br />
lyrics over <strong>the</strong> heartbeat pulse<br />
Team Strønen has built. That’s one<br />
of <strong>the</strong> music’s many intrigues—its<br />
pliability is seductive.<br />
—Jim Macnie<br />
Exclusive US distributors of : Arcam • Certon Systems • Chord Company • Dali • PMC • Quadraspire • Rega • Wilson Benesch<br />
November 2015 103
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