Stephen Mejias

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News from Sonos

Uncle Isaac is building a new house. When he asked me how he might go about getting music to play throughout several different rooms of his home, the first thing that came to mind was Sonoshttp://www.stereophile.com/budgetcomponents/1006sonos/index.html">Sonos…;. (Of course, if it was my house, I'd have a">http://blog.stereophile.com/stephenmejias/the_rega_p3-24_iin_colouri/">a different-colored turntable in each room: Colonel Mustard in the library, Professor Plum in the study, Mr. Green in the billiards room, Miss Scarlet in the kitchen (wink wink)….)

Nite Jewel: One Second of Love

The first time I heard “One Second of Love,” the title track from Nite Jewel’s new album (released earlier this week on Secretly Canadian), I didn’t think much of it. It was another pop song from another young, indie artist, recalling the late 1980s and early 1990s&#151enjoyable, but unimaginative.

I was crazy. My initial reaction was wrong: The more I listened, the more I enjoyed the song’s motoric drive, insistent, each cold verse followed by seductive chorus, its gentle harmonies contributed by fellow LA-based artist, Julia Holter, its insolent snarl and alluring coo. I can’t get the song out of my mind. I wake up with it, come back to it throughout the day.

No Clever Plan

Well, folks, the week's made it to a close, and my plan — Did I mention my plan to post a daily entry about some product that I'd be reporting on during CES, or were you able to discern what I meant to do without my having to say it? — failed. Yeah, that plan, like so many other 2006 plans, came to an abrupt end soon after it began. I'm beginning to think that some people just aren't made to make plans. And I might be one of those people. Though a plan can be symbolic of so many wonderful things, and I think it's those things that I'm really attracted to — the act of making a plan, to my mind, holds no special charm — the things which have brought the most joy to my life came with no clever plan. They were big, beautiful surprises.

No Real Beginnings or Endings

The music we made in Genie Boom was not unlike the music made by the pumps and steam lines and reactors of Firmenich. Michelle drummed on garbage cans, a red school bell, a gas tank, whatever banged. Todd pressed buttons on his Casio synthesizer and Roland drum machine. I plugged five cheap guitars—old Silvertones and Kays, before they became popular—into whatever amps I could find, turned the knobs on my effects pedals all the way up, and screamed the lines from my poems into the guitars’ pick-ups.

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