LATEST ADDITIONS

If it’s Independence Day, it must also mean it’s independent gear news update time — and thus, we’re putting our patriotic spotlight on Hagerman Audio Labs today. To wit: The company’s fourth-generation Cornet MM phono preamp is now available. Read on to find out how the 4th-gen Cornet MM sings accordingly. . .

Tears For Fears’ synth-centric March 1983 debut album The Hurting set the stage for the broader scope of their ensuing worldwide mega-breakthrough. This key album is now being properly feted with a 180 1LP reissue from Mercury/UMC, as half-speed mastered by Miles Showell at Abbey Road Studios. Read Mark Smotroff’s review of the fine new 40th anniversary edition of The Hurting to see just how Tears For Fears laid the groundwork for their still-innovative soundscapes. . .

When you take a closer look at the lineup of gear available from Austrian manufacturer European Audio Team — perhaps better known by their more precise acronym, E.A.T. — you’ll find beautiful electro-mechanical designs reflected in graceful lines, unusual exterior choices, and well-appointed materials. Read Ken Micallef’s review to find out if E.A.T.’s latest offering, the C-Dur turntable, is able to match natural, nuanced, and detailed sound with the company’s equally outstanding design acumen. . .

Stewart Copeland has always followed the beat of his own drum — or, rather, he’s always been the consummate rhythmatist who’s unwaveringly laid down his own style of drumming perpetually in service of the song at hand. And now, the sonic fruit of his latest twisted muse, if you will, has manifested itself in a solo project somewhat cheekily dubbed Police Deranged for Orchestra, consisting of ten classic and deep-cut Police tracks rearranged — or “deranged,” in Copeland’s titular parlance — as released in its 1LP form by Shelter/BMG this Friday, June 23. During a recent Zoom interview with AP editor Mike Mettler, Copeland discusses how he opened up the dynamic range with all the Derangements he came up with for this album, how he shepherded the “perfect” snare, and just how meticulous he got when he wrote out the entire Deranged score for each orchestra member to follow. . .