Nordost Playlist – October 2019

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this October.



You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. Stay High—Brittany Howard—Jaime
  2. Lean On Me—José James—Lean On Me
  3. Nameless—Dominique Fils-Aimé—Nameless
  4. I Used to Be Somebody—June Carter Cash—Press On
  5. Holy Terrain—FKA twigs, Future—Holy Terrain
  6. Walking in Memphis—Marc Cohn—Marc Cohn
  7. New Favorite—Alison Krauss & Union Station—New Favorite
  8. Honey and Smoke—Neko Case, k.d. lang, Laura Veirs—case/lang/veirs
  9. Crazy—Bill Frisell—East/West
  10. The Pure and the Damned—Oneohtrix Point Never, Iggy Pop—Good Time

Nelson Brill Spends The Day At Tanglewood

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Nelson brings us to The Berkshires to see what Tanglewood had in store for their audiences this summer. 


CLASSICAL MUSIC UNBOUNDED: A DAY SPENT AT TANGLEWOOD

By Nelson Brill         July 23, 2019  

On entering Tanglewood, the idyllic summer home of the Boston Symphony Orchestra (“BSO”; http://www.bso.org), there is always a distinctive welcoming call that you will hear. It is the sound of songbirds that might mix on the summer air with the clarion call from a lone trumpet or a rising note from a soprano’s aria (all coming from Tanglewood’s practice sheds that dot its majestic grounds).

On the early morning of July 13th, I heard this same welcoming call as I entered the Bernstein Gate at Tanglewood to walk to the famed Koussevitsky Shed (the “Shed”) where a morning rehearsal (led by BSO Music Director Andris Nelsons) was taking place. As I sat down at the Shed, I heard several audience members buzzing about the BSO’s performance the previous evening when the young Canadian pianist, Jan Lisiecki, made his Tanglewood debut in performance of Edward Grieg’s Piano Concerto. (“Did you hear that young man at the piano – astounding!”). I happen to also take a seat next to HK Gruber, the composer of Aerial, Concerto For Trumpet and Orchestra, (“Aerial”) one of the pieces that the BSO was rehearsing that morning. Interacting with composers and musicians informally is one of the many special treats at Tanglewood. This summer has brought the opening of Tanglewood’s new education and concert facility, the Linde Center, along with the activities of its Tanglewood Learning Center (http://www.TLI.org) making Tanglewood’s music education programs and community activities even more accessible.

It was a special musical treat to eavesdrop on the BSO’s rehearsal of Aerial, which featured the gifted trumpeter Hakan Hardenberger as its soloist. Aerial turned out to be a fascinating journey in which Gruber has the soloist perform on an assortment of trumpets and mutes to create a swirling pallet of horn colors. Hardenberger moved effortlessly between his tiny piccolo trumpet (sounding brazen and sharp, but when muted, producing soft, piercing bursts); a small polished shofar (producing different breathy sounds as Hardenberger cupped his fingers around its opening) and a silver trumpet ( with a sound that could be crisp or clarion but also vaporous and gauzy when played through a stand-mounted mute).

photo by Hilary Scott

Hardenberger’s metallic frolic was the perfect vehicle to explore Gruber’s colorist inventions in his Aerial. These included Hardenberger’s jazzy bursts and riffs on piccolo trumpet (in duet with a strutting tuba or a racing bass string) or his vaporous trumpet growls (which combined with quiet string holds and the resonant flutter of a marimba run to create a meditative soundscape). Aerial also contained a startling march where Hardenberger’s trumpet joined in an off-kilter jam session with the orchestra, brazen and dancing forth. The conclusion of Aerial was another surprising bolt of color: Hardenberger held a single lingering note on his piccolo trumpet and walked to the side of the stage where a piano sat. He then held this note, blowing softly into the strings of the piano, to create a solitary whisper that slowly evaporated into the stillness of Tanglewood’s morning air.

After this first rehearsal of the piece, Gruber approached the stage to consult with Nelsons and Hardenberger and then several passages were rehearsed again. In one section, Nelsons instructed the brass section to play softer so that a saxophone run could be heard more distinctly. In another section, he and Hardenberger requested that the woodwinds create a more dynamic wave action to a colorful run, working on accenting certain beats so that they created an undulating wave of sound (demonstrated by Nelsons as he gestured his baton up and down, waving his arms in a wavelike motion).

photo by Hilary Scott

In addition to the unique opportunity to catch an early morning BSO rehearsal at Tanglewood, there is also the opportunity to catch a great student performance of a work you may not have heard. On this afternoon, there was a concert given by students of the Boston University Tanglewood Institute (“BUTI”; http://www.bu.edu/tanglewood), led by their conductor, Bruce Riesling, in performance of Desert Transport, an exciting work by composer (and BUTI alumnus) Mason Bates.

I had been looking for a chance to hear a live performance of Desert Transport ever since I heard the fantastic recording of it by the Boston Modern Orchestra Project (“BMOP”), led by their intrepid conductor, Gil Rose, on their superb CD/SACD Mothership [BMOP Sound; http://www.bmop.org]. This earlier performance, (recorded in the airy confines of New England Conservatory’s Jordan Hall), is full of sonic treats and stellar musicianship. The music on this recording is bracing and lustrous, riding on prodigious brass flourishes, creative electronic effects, layered string sections (providing a juicy thrum) and a soundstage that is deep and wide.

The BUTI Young Artists performance of Desert Transport at Ozawa Hall was likewise potent and full of collective verve. Bates’ journey moved from sprawling canyon lands (represented with airy string holds and sweeping waves of woodwind colors) to meditative Native American chants (whose recordings are layered over the soft swells of strings) to a helicopter ride over the desert landscape where the sound of its rotating blades are heard in the strings’ quick pounces on their bows and in a crackling of percussion. The BUTI Young Artists dug deep to deliver all of these colorful details of Bates’ music, working as a coherent unit- even on Bates’ most demanding surges. The finale, with its huge bass drum whips and swirling string and brass choruses, sounded like a vast, cataclysmic roar in the crisp acoustic of Ozawa Hall.

As twilight descended on Tanglewood, the Prelude Concert, (usually presented by Fellows of the Tanglewood Music Center before the evening concert) was a more intimate gathering focused on chamber music. This evening, there was a shimmering performance of Clara Schumann’s Piano Trio in G minor (1846), by pianist Mathilde Handelsman, violinist Wei Lu and cellist Jonah Krolik.. Schumann’s piece is filled with dreamy light melodies, delivered with sweet and lilting touches in the hands of these three alert partners. Handelsman was particularly fine at her piano, lacing her notes with soft pedal touches that allowed each note to flow graciously into her partner’s embraces. The vivid acoustics of Ozawa Hall allowed for every cello plunge, violin soar and piano glow to be heard crisp and clear into the lingering shadows of the lawn.

This graceful performance of Clara Schumann reminded me of a new favorite recording involving another piano Trio, The Hermitage Piano Trio, (“Hermitage”) performing chamber works by Sergei Rachmaninoff. This recording was made in the airy confines of another treasured Hall of our region, Mechanics Hall, (located in Worcester, MA.) and produced by the esteemed audiophile team at Reference Recordings (“RR”)(http://www.referencerecordings.com).

In contrast to Clara Schumann’s lilting melodies, here we have the deep, soulful meditations of Rachmaninoff played with elemental and unflinching power by the Hermitage. For instance, the final movement to Rachmaninoff’s Trio Elegiaque no. 2 is a searing example of how violinist Misha Keylin, cellist Sergey Antonov and pianist Ilya Kazantsev combine into one intense vehicle to reveal all the drama, virtuosity and controlled combustion of this finale. Kazantsev’s piano is thunderous, his poignant held chords reveling in their sustained attack and airy decay. His touch on piano is both cataclysmic and enveloping. Antonov’s cello and Keylin’s violin surge in and around Kazantsev’s thunderclaps, all beautifully captured on this recording in their earthy tones; their spare runs and their entwining, soulful holds.

The RR team is unrivaled when it comes to capturing the ambience of a given recording space; the natural image dimensionality of players on a stage and the tactile aliveness of an acoustic performance. This new Hermitage recording joins another earlier RR gem, (another of my favorites) also recorded at Mechanics Hall.

This is a recording of the Concord Chamber Music Society (“Concord”; comprised of members of the BSO) in performance of music from contemporary composers Chris Brubeck, Michael Gandolfi and Lukas Foss. Here is a journey filled with sparkling acoustic instruments delivering all the spunk, creativity and motion of this music that defies characterization, moving as it does from classical, jazz, bluegrass and beyond. The recording is superb in its presence and its tactile life. For instance, there is nothing more delectable than hearing the rotund, woody sound of Thomas Martin’s sinuous clarinet play in duet with Wendy Putnam’s off-stage lithe violin, and listen as Putnam moves gradually onstage to join her partners in Brubeck’s shimmering Danza Del Soul. This is the stuff of music-lovers’ dreams and audiophile pleasures.

Back at Tanglewood, the gala evening concert on July 13th involved a performance of Giuseppe Verdi’s dynamic and sumptuous Requiem, under the direction of Andris Nelsons, with the full Tanglewood Festival Chorus and four stellar opera singers adding their vocal glories to Verdi’s soaring drama.

photo by Hilary Scott

This concert brought out the best in Tanglewood’s communal and musical spirit. A capacity and diverse crowd of young and old gathered on Tanglewood’s grand lawn before the Shed, dining on picnic blankets and strolling the grounds. As the performance began, the large crowd hushed to a whisper (the only noise being the singing of crickets) as a full moon rose over the Berkshires.

Hilary Scott

There were many highlights to this starry performance. The duets performed by soprano Kristine Opolais and mezzo-soprano Oksana Volkova were spectacular vocal creations; their sweet and powerful voices entwining beautifully. Opolais’ dulcet soprano was tender, fluid and when called upon, intensely passionate in her highest soars. Volkova possessed a full bodied and glowing voice, perfectly suited to bring passion and warm phrasing to Verdi’s dramatic score. Tenor Jonathan Tetelman was a sparkling vocal presence with his own vocal passion and fluid athleticism. At one point, he held a fiery high note with bravado and then effortlessly descended with a song filled with rapid pitch changes, (all unwavering in their expressive intensity). Bass Baritone Ryan Speedo Green was also indefatigable. His blasts of deepest swagger echoed into the night. He also possessed a beautiful way with soft lyrics and harmonies, caressing his deep phrases with tenderness, cushioned in quiet orchestral and choral passages. The Tanglewood Festival Chorus rang out with their own sumptuous vocal energy, spreading their radiant voices over the lawn (into the Berkshire Hills beyond) on their most regal crescendos. When Nelsons held his hands high to signal one of Verdi’s dramatic moments, the earth around Tanglewood felt like it was shifting under the thunder of human voices and instruments in full regalia, proclaiming their leaping unity in musical purpose.

Leonard Bernstein at Tanglewood; Boston Globe

Tanglewood’s glorious season continues…See http://www.bso.org for all upcoming concerts and programs this summer.

 


You can read more of Nelson’s concert reviews at www.bostonconcertreviews.com.


 

 

 

 

Nordost Playlist – July 2019

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this July.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. Faithful—Ibeyi—Ibeyi
  2. Dark Cloud—Wyvern Lingo—Wyvern Lingo
  3. Blue Moon (Studio Jam)—The Beatles—The Beatles (White Album / Super Deluxe)
  4. Boundless Love—John Prine—The Tree of Forgiveness
  5. U (Man Like)—Bon Iver—U (Man Like)
  6. Soon It Will Be Cold Enough to Build Fires—Emancipator—Soon It Will Be Cold Enough
  7. Los Ageless—St. Vincent—MASSEDUCATION
  8. Good Kisser—Lake Street Dive—Free Yourself Up
  9. Let You Know—Flume, London Grammar—Let You Know
  10. Seventeen—Sharon Van Etten—Remind Me Tomorrow

Nelson Brill Reviews Blues Music—In Dance, Recorded, And Performed Live

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Nelson takes a closer listen to blues music as it inspires choreography, plays in our home systems, and is performed in concert.


THE BALM OF THE BLUES-PART 1

By Nelson Brill    May 21, 2019

The blues continue to inhabit our musical lives, enriching and uplifting our spirits and keeping us in stride in these difficult political times. One enduring example of how the blues are a spiritual balm (and continue to move people forward) is found in the radiant choreography and dances performed by one of the world’s treasured dance companies, The Alvin Ailey American Dance Theatre, (“Alvin Ailey”; http://www.alvinailey.org). Alvin Ailey celebrated their 60th anniversary with a series of performances held at the Boch Center Wang Theatre on May 2nd through May 5th, presented by Celebrity Series of Boston (http://www.celebrityseries.org).

Paul Kolnik

Since its world premier in 1960, Alvin Ailey’s signature masterpiece, Revelations, (choreographed when their founder was only 29 years old) has been performed around the globe. To commemorate its 60th year, Alvin Ailey performed Revelations to conclude each of its Boston programs. Revelations is an intimate reflection upon Ailey’s childhood growing up in Texas, deeply influenced by his church, its music and the writings of Langston Hughes and James Baldwin. The first scene, (which Ailey described as “getting up out of the ground”) finds a group of dancers dressed in earthen tones aligned in a tight circle. The group raises and lowers its arms and limbs to create a slow-motion wave of rising and falling bodies, like a flock of birds gathering into the sky from some low point in the earth. This evolving action is propelled by music from Ailey’s childhood: church spirituals deep in their majestic pulse and brewing fervor.

dancemagazine.com

In later scenes, male dancers stalk the stage in long, leaping bounds to the striding spiritual, “Sinner Man,” or flow in swirling, entwined pairs to the uplifting pulse of the spiritual, “Wade In The Water” (dipping their toes in flowing blue fabric as it is stretched across the stage).

alvinailey.org-Paul Kolnik

The final scene of Revelations is a dazzling frolic where dancers twirl, swirl and partner in high-stepping glee in celebration of life, love and joy– all to the booming sounds of the spiritual, “Rocka My Soul In The Bosom of Abraham”. The capacity audience at the Boch Center leapt to their feet at the conclusion of Revelations (clapping and singing along to “Rocka My Soul”) clearly moved by the brilliance of the dancers and Ailey’s vision: from sorrow to spiritual uplift in the comforting embrace of the blues.

AXS.com

Seeing Revelations performed after so many years inspired me to listen to one of my favorite audiophile recordings of powerful traditional spirituals re-arranged in brilliant fashion by singer Mavis Staples, herself a veteran of the civil rights struggles and a treasured voice today in the fight against racism and inequality.

On her incendiary recording from 2007, We’ll Never Turn Back [Anti Records CD] Staples and her kinetic band, (which includes producer Ry Cooder on guitars and mandolin) pounce on such traditional songs as “Eyes On The Prize”; “This Little Light Of Mine” and “Turn Me Round” and ignite them into molten-hot music, demanding to be heard. Her original, “My Own Eyes” is another stunner: her own musical version of Revelations as she marches through her own civil rights movement history with her father, Pops Staples, as her inspiration. Her band is a churning boogie of blues and toe-tapping power. Mavis’ guttural growls; her deep gospel vocal plunges and her soaring chants are captured radiant, harmonically rich and kinetic on this great recording, ensnared in an airy soundstage swept by the layered, resonant sounds from her tightly grooving band. This is how a blues album should to be recorded, without the hyped-up treble and thinness of so many marred blues recordings I have heard.

There’s no stopping the 79-year old Mavis and her fiery blues: she has come out with a new album, Live In London [Anti Records] and is set to release another new recording soon.

Her Live In London is another shot of gospel and blues messages (straight to the political heart) with her band captured up-close in searing flow at London’s Union Chapel. Mavis’ voice is still a gale force, (captured a bit thinner here than on We’ll Never Turn Back) with guitarist Rick Holmstrom fierce on his unleashed guitar solos – boisterous and brightly lit – as the charismatic Mavis shouts out: “We’ve got work to do!”

The Tennessean

The elemental force of the blues also took center stage in several Boston area concerts, where volcanic electric guitars and harmonicas served to deliver spiritual uplift to capacity crowds.

James Cotton- pastdaily.com

The first of these concerts was a magnetic gathering of blues musicians to honor the legacy of brilliant bluesman James “SuperHarp” Cotton (1935-2017). This tribute concert was held at the Narrows Center For The Arts in Fall River, MA. (http://www.narrowscenter.org), a venue for live music that is always reliable for its good sound and its welcoming community feel. The show was hosted by Boston rocker and harpist, James Montgomery, and Holly Harris, host of Boston radio station WUMB’s blues show (http://www.wumb.org). Fittingly, an empty chair was kept onstage for Cotton (in case his spirit come by for a listen, as Montgomery urged).

YouTube

Longtime Boston blues legends Annie Raines and Paul Rishell opened the show with their sparkling presence, plying their harp, guitar and vocals in delicate sprays of notes on their sparkling “Got To Fly!”. Harpist extraordinaire Jerry Portnoy moved to a different groove with a silken fluid softness to his harp, pushing it to a regal bluster when fully launched. Harpist Rick Estrin, adorned in a silver suit, took off like a rocket on his harp: snarling, blurting down deep and at one point, holding his harp in his mouth lengthwise (without any use of his hands!) to shimmy and shake his body to his cascade rockous of sounds.

Rick Estrin -Daily Republic

Young California harpist Kyle Rowland was another stunning Cotton protégé with a gale force of sounds to accompany his expressive vocals- sensual and dynamic (coupled with Bob Margolin’s bracing slide guitar) on Muddy Water’s classic, “Mannish Boy”. Another master harp player, Cheryl Arena, (originally from Boston), delivering down-home grit and silvery soars (and the lightest of breathy throbs) on Sonny Boy Williamson’s “Help Me.”

James Montgomery-The Valley Advocate

The bands that accompanied these gifted harp players were also on fire (inspired by Cotton’s spirit) led by James Montgomery’s charismatic and muscular presence on his harp (leading his own boisterous band) and with guitar greats Kenny Neal and Darrell Nulisch adding their own urgency and funk. Another highlight was the reunion of Cotton’s touring band who delivered a slinky-tight rocking focus to the celebration. The finale was a roaring version of Cotton’s classic, “The Creeper”, where everyone gleefully piled in. On this last tune, Cotton’s guitarist, Rico McFarland, jammed with several harpists, including the roguish Mark Hummel, who unleashed a torrent of sounds from his harp (piercing high and mercurial), next to McFarland’s tightly churning guitar.

Tinsley Ellis-In My Time Photography

James Cotton’s spirit also infused another Boston concert of feisty Chicago and jump blues glory. On March 28th, guitar legends Tinsley Ellis, Coco Montoya and their stellar bands played a fabulous double bill at The Center For The Arts In Natick, MA. (“TCAN”; http://www.natickarts.org). TCAN is another stellar venue in the Boston area for getting up close and personal with live blues because the venue is intimate, welcoming and reliable for providing excellent sound.

Tinsley Ellis and his power trio (bassist Devin McCann and drummer Eric Dravinsky) opened the show with their spirited combination from Ellis’ southern rocking roots to his smoldering Chicago style blues. Ellis is the total blues delivery system. He possesses a big, expressive voice that invites you into the drama of every song. On his opening “Sound of a Broken Man” taken from his new album, Winning Hand [Alligator Records; http://www.alligator.com], his rounded baritone was full of bold expression as his guitar leaped and stung in short bursts around it. Hearing this tune live was much more satisfying than on his CD because, for whatever reason, the blues hero label, Alligator Records, continues to produce magnificent artists with sound that is frequently pop- thin on vocal richness and instrumental tones, along with, at higher volume, treble glare. (Their LP editions tend to be slightly better in this regard). Winning Hand suffers from this same fate, particularly on Ellis’ high guitar notes, recorded thin and unnaturally wiry, instead of tonally substantial and glowing.

ticketfly

Back at the concert, on his sterling “Gambling Man,” (also from Winning Hand), Ellis sang high and fervent with a great feel for the slow brewing nature of this gem as he let it evolve from a pulsating surge to a rumbling furnace of guitar soars and bass drum heat. Ellis’ guitar styling was a perfect foil for his expressive vocals. For instance, he held onto low guitar notes seemingly forever, (like relishing the burnt ends of barbecue) then slid up his neck to scorch high notes and bends. He also loved to let his fingers fall precipitously to create a swift “zing” of metallic sounds. These were all showcased on his fantastic slow cooker, “Saving Grace,” (also from his new album) and on the rocker, “Cut You Loose”. On this last leaping number, Dravinsky’s closed hi-hat and McCann’s bopping bass propelled Ellis into a dancing ride, (hitting sly string bends and quick twisting holds up top), as his expressive vocals ran perfectly in their stride.

The Morning Call

With his own bolt of lightning, guitar legend Coco Montoya swept onto the TCAN stage with his band (Eric Robert on keyboards, Nate Brown on bass and Rene Beavers on drums) and took off with their own stew of Chicago blues funk and swing. Their version of a Sly Johnson song was all slinky funk with rolling bass lines, Montoya’s stinging guitar and Robert’s juicy keyboard romps. Robert was a showstopper all night on his electric keys. He provided rolling and glittering piano grooves to shake the walls of “Love Jail” (written by Montoya for his mentor, Albert Collins). On Montoya’s rolling and grooving “Tumbleweed”, he washed the length of his keyboard with dashing flourishes and tight barrelhouse runs.

KLOTZ

With his guitar nestled against his large frame, Montoya moved effortlessly from jazzy rifts to stinging holds, always on the lookout for another creative riff or bright-hued line. Like a kid, he sometimes gleefully discovered a simple combination of notes or chords which he decided to churn, over and over, to create this rush of crashing sounds and a crescendo of colors. His vocals were a bit thin and less expressive in character than Ellis’, but there was no stopping his enthusiasm for the sharp concise whip of his guitar solos or his elemental back-beat.

Tinsley and Montoya-Baltimore Beacon

The concert’s finale, where both bands took the stage, was an electrifying moment. Ellis and Montoya dueled side by side; each taking a turn. They started deliberately and slowly, feeding slow funky patterns (with Ellis slurring notes and Montoya stinging isolated notes). They then took off on a collective soar, (with their bandmates riding the groove effortlessly), into a gallop of jazz rifts, furious blues swing and cataclysmic high holds that had the capacity crowd on their feet roaring their approval.


If you would like to read Part II of The Balm Of The Blues, or more of Nelson’s blog reviews, visit www.bostonconcertreviews.com.


 

 

 

 

Nordost Playlist – June 2019

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this June.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. Johnny and Mary—Todd Terje, Bryan Ferry—It’s Album Time
  2. Thinking—Marian Hill—ACT ONE
  3. Here You Come Again—Dolly Parton—Here You Come Again
  4. Hammer—tUnE-YaRdS—I can feel you creep into my private life
  5. For All We Know—Roberta Flack, Donny Hathaway—Roberta Flack & Donny Hathaway
  6. One Evening—Feist—Let It Die
  7. Someday We’ll Linger in the Sun—Gaelynn Lea—Someday We’ll Linger in the Sun
  8. Mechanical Heart—Beth Hart—Better Than Home
  9. Glacier—James Vincent McMorrow—Post Tropical
  10. Spontaneous—Flying Lotus—Flamagra

 

Nordost Playlist – May 2019


Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


Here are some of the songs that we will have on rotation this May.


  1. Cellophane—FKA twigs—Cellophane
  2. I Wish I Knew How It Would Feel to Be Free—Wynton Marsalis Septet, Susan Tedeschi, Derek Truc, I Wish I Knew How It Was To Be Free
  3. Fancy Man—Devendra Banhart—Ape in Pink Marble
  4. Miss Simone—Sara Bareilles—Amidst the Chaos
  5. Nothing Sacred/All Things Wild—Kevin Morby—Oh My God
  6. Lights—SOHN—Tremors
  7. Walden Pond—Atta Boy—Out of Sorts
  8. Northwest Passage—Stan Rogers—Northwest Passage
  9. Top of the World—Kimbra—Primal Heart
  10. Oh My Love—Riz Ortolani, Katyna Ranieri—Oh My Love

 

Nordost Playlist – April 2019


Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this April.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. Keep Coming Back to You—Melissa McMillan—Melissa McMillan-EP
  2. Patience—Tame Impala—Patience
  3. Danza del altiplano—Leo Brouwer, Luciano Tortorelli—Latin Latitudes
  4. Part Of Me—Noname, Phoelix, Benjamin Earl Turner—Room 25
  5. Gwan—Rostam—Half-Light
  6. Sunday—HNNY—Sunday
  7. Lè ma monte chwal mwen—Melissa Laveaux—Radya siwèl
  8. Mist of a Dream—Birdlegs & Pauline—Birdlegs
  9. Nobody—Mac DeMarco—Nobody
  10. Boyish—Japanese Breakfast—Soft Sounds from Another Planet

 

Nordost Playlist – March 2019


Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this March.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. Stay Flo—Solange—When I Get Home
  2. Lost in the Sauce—King Garbage—Make It Sweat
  3. Glass, Concrete & Stone—David Byrne—Grown Back words
  4. Still on My Mind—Dido—Still on My Mind
  5. Unforgettable—Johnny Hartman—Hartman For Lovers
  6. Ma Mama—Toto Bona Lokua—Bondeko
  7. Come On and Move Me—Monarchs—Those Words, Those Frames
  8. I Found A Reason – 2015 Remastered—The Velvet Underground—Loaded (Remastered)
  9. Pink Moon—Nick Drake—Pink Moon
  10. Like A Fool — Superchunk — Foolish

 

Introducing the System Solution: Set-Up & Tuning Discs

After years of great success with our original System Set-Up & Tuning Disc, Nordost is excited to introduce a newly upgraded disc-set that both improves and expands upon our initial product, offering more content and features, to get your system sounding its best and to keep it that way. The Nordost System Solution is an invaluable tool for the installation, maintenance, and fine-tuning of any hifi audio system. Arranging a new system is a painstaking and exacting task for even the most seasoned audiophiles. This two-disc set, provides you with a unique mix of diagnostic tracks, calibration tools, and system conditioning aids that will help unlock the full potential of your sound system.

The System Solution Set-Up & Tuning Discs include tracks that range from the simple, such as channel checks and pink and white noise, to the more complex and unusual LEDR tracks, timed frequency sweeps, and repeat drum beats. Our sound engineers have incorporated specially designed tracks to facilitate full-range loudspeaker positioning and the integration of subwoofers, and have even included a number of useful “system service” functions.

These functions include degauss and burn-in signal tracks, both of which are essential precursors to fine-tuning your existing set-up or new components. Each of these helpful tracks is fully explained and expounded upon in a detailed instruction booklet, included with every disc set.

Nordost is proud to say that over the years our products have become integral components in preeminent recording studios around the world. This has given us the opportunity to incorporate musical selections recorded using Nordost cables as an exciting new feature on our set-up discs. These carefully curated tracks highlight specific aspects of system performance and will help you to further explore the subtleties of your newly-tuned system. This also means that Nordost users will have the ability to experience performances wired with Nordost from beginning to end!

Includes:

  • Essential channel and phase checks
  • Multiple pink and white noise signals for speaker/room diagnostics
  • Sophisticated LEDR tests to optimize speaker placement
  • System maintenance tracks (Degauss and Burn-In)
  • Low-frequency tones specially designed and configured to map room modes and aid speaker placement or subwoofer positioning and integration.
  • Specially selected music tracks with detailed listening notes to further refine system performance

 

Nordost Playlist – February 2019


Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this February.


You can now listen to our monthly playlist here:  TIDAL  |  SPOTIFY


  1. bury a friend—Billie Eilish—bury a friend
  2. Moretown Hop—Noam Pikelny—Universal Favorite
  3. BAGDAD – Cap.7:Liturgia—ROSALÍA—El Mal Querer
  4. Honey—Robyn—Honey
  5. Where’s The Catch? (feat. André 3000)—James Blake, André 3000—Assume Form
  6. Make You Feel My Love—Bob Dylan—Time Out Of Mind
  7. Woman—Cat Power, Lana Del Ray—Wanderer
  8. Beautiful Strangers—Kevin Morby—Beautiful Stranger b/w No Place to Fall
  9. Suzanne—Bermuda Triangle—Suzanne
  10. Pristine—Snail Mail—Lush