The Hidizs XO dongle is a safe, solid performer with a largely pre-fabricated standard sound based on the same SoCs (“systems on chip”) that is used in the popular Hidizs AP80 Pro-X dap. It also features 14 light effects that are not in sync with the music and therefore not beneficial for everyone.

The Hidizs XO was kindly provided by the manufacturer for my review – and I thank them for that. You find more information at Hidizs.net.

Introduction

Hidizs are an up-and-coming Chinese audio manufacturer that aggressively target Asian and western markets alike. They specialize in earphones but also in daps, dongles, and small headphone amps, and they also offer some nifty accessories.

We have collectively analyzed quite a few of their iems, daps and dongles, as listed here:

Hidizs’s best effort to date, in our collective opinion, is probably the AP80 Pro-X dap: works well, sounds good, and therefore has established itself as one of the most interesting budget to mid-tier daps. It features two SoCs, that is “System on Chip“, a combination of DAC and amp on a single chip. This saves space but also leaves the audio engineer little room for tweaking – and any two devices with the same SoCs sound very similar.

Interestingly, the Hidizs XO and the AP80 Pro-X feature the same set of two ESS9219C SoCs – and so do the Qudelix-5K, the FiiO BTR5, and some Shanling products, too. This means all these devices have identical data handling and amplification power, and only some tweaking can be done by filtering. But much of the sound is prefabricated by ESS.

This is in stark contrast to pure DAC chips. For example, the Hidizs S9 Pro features the ES9038Q2M chip (like so many other devices) but has its unique sound signature due to its proprietary analog output stage. No ES9038Q2M devices sound alike, despite the urban myths around them.

Specifications Hidizs XO

Physical Things and Functionality

In the box is the dongle, a short USB-C to USB-C cable, and a USB-C female to USB-A male adapter.

The Hidizs XO is a classic dongle: a small rectangular box made of metal with a USB-C port at the receiving end, and two headphone sockets at the opposite side: a 3.5 mm one for single-ended use, and a 2.5 mm for balanced use. Owing to is small size, Hidizs opted for the smaller 2.5 mm balanced socket, whereas the more rugged 4.4 mm plugs are increasingly becoming standard.

There are two buttons on the top a round, illuminated one for toggling between two digital filters and an X-shaped one for switching on light effects.

Yep, both long sides of the XO are covered with LED panels.

The Hidizs XO connects via USB to digital music sources (daps, phones, tablets, computers). It does not contain a battery and draws its power from the host. Its volume is also controlled from the host device.

Amplification and Power Management

The Hidizs XO performs amplification wise like the Hidizs AP80 Pro-X dap as it has the same SoCs. It can handle earphone and headphones up to 150 ohm with ease, while aching with 300 ohm headphones. This is only valid for a computer source and some phones.

That’s because there is one distinct difference: the AP80 Pro-X has its own battery, the XO draws from the host…and Apple limits the current draw to 100 mA for most of its mobile devices. The Hidizs XO draws up to 146 mA (with light effects on), which makes it the biggest current hog of all devices I have tested. It draws more than 3 times as much current as the AudioQuest DragonFly Red.

As a result of this poor power management, the Hidizs XO is throttled by my iPhone, that is its power output is greatly decreased. The device must also feature a “cheater chip” to deceive my iPhone.

Other phones may work better with the Hidizs XO, but their batteries are nevertheless emptied faster than with most other dongles. I hope Hidizs releases some firmware to fix this.

Light Effects

The Hidizs XO’s X-shaped button operates light panels on two opposite sides of the device. I counted 14 different settings that make the XO blink, move, and fade. Not a single one of the settings provides a fixed continuous light, there is always some movement. At least the lights are rather passive and do not drive you out of bed at night.

However, there is no coordination between the music and the dancing lights. One would expect the light effects being synchronized with the rhythm of the music….but they are not. Both are entirely independent of each other. You don’t even need to connect the XO to a music source, all it takes is a 5V USB power supply to run the light effects.

Considering that the lights do not contribute to the XO’s performance, but only to our phones’ battery drain, they may appeal to a limited audience.

Sound

Since The Hidizs XO and Hidizs AP80 Pro-X dap have the same SoCs, I A/Bed them by playing the AP 80 Pro-X with and without the XO. On a first listen, both sound almost identical (neutral with a tad of “warmth”), however there are distinct differences.

The XO sounds a bit airier, wider, fluffier, livelier, and edgier than the marginally darker, bassier, and more closed-in AP 80 Pro-X with its lesser perceive treble extension. The XO is definitely more open with a bigger headroom, however at the expense of depth. Nevertheless are the differences smaller and insignificant outside of analytical listening for testing purposes.

Hidizs did not have many options for creating a different sound signature between two devices using the same SoC. Their main option is filtering. The greatly announced “crystal oscillators” (quartz grains pulsating in an electric field…initally used for for achieving accuracy in quartz watches) is probably meant to minimize jitter, and therefore sound deterioration. If this really works, this may explain the performance differences between dap and XO.

Alternating between XO’s filters does not make any sonic difference to my ears.

The differences between the Hidizs XO and the frequently publicly shunned DragonFly Cobalt (at 3 times the price) are much more substantial: the Cobalt sounds fuller/richer in the midrange, has better extension at both ends (notably a deeper digging low end with more rumble), better midrange clarity/resolution, and a better spatial reconstruction. And it better does, considering the price difference.

The XO, in comparison, has a flatter stage, is light on bass, and offers leaner vocals and a smaller headroom. Nevertheless is the XO a better value and overall more than acceptable. It is also better resolving and livelier than the similarly priced Hidizs S9 Pro (difference: S9 Pro does not have a SoC but a dedicated DAC chip combined with Hidizs’ own analog output stage).

Comparing its own single-ended circuit with the balanced one, you are advised to only use the latter as it is more powerful and with better spatial rendering.

You probably will pair the Hidizs XO with iems and headphones in line with its price.

Concluding Remarks

If you already own a $100-$150 dongle, the Hidizs XO offers little new sonically owing to its use of standard SoCs. It is a tad better, that is livelier sounding, than the Hidizs S9 Pro dongle and similar to the Hidizs AP 80 Pro-X dap…and it also plays very similar to other dongles and daps with the same SoCs. It is best used with a computer as it draws a lot of power and may be throttled by your phone.

But if you you don’t have such a dongle, or have one without a balanced circuit, or you need some fancy illumination, the Hidizs XO could be the right one for you. And the price is right.

Until next time…keep on listening!

Contact us!

Disclaimer

I thank the company for providing the XO unsolicited for my analyses. You can buy it from Hidizs.

Our generic standard disclaimer.

Gallery

The post Hidizs XO Review (1) – Dance The Light Away appeared first on Music For The Masses.

The NiceHCK M5 are technically good but both sonically and optically somewhat unimaginative earphones with 3 different tuning options that fail to stick out of the sea of competitors in any way.

Pros — Technically ok, these hit the middle-of-the-road flavour.

Cons — Piercing upper midrange needs modification, stock tips useless, ordinary sound (the thumpy bass kills the fun); unimaginative design; pointless tuning filters (only one yields an acceptable sound); not sure whether they are their money’s worth.

Introduction

Shenzhen company NiceHCK has accompanied this blog before it even existed. Loomis and I first discussed their iems over on Head-Fi – we both treasured the legendary $12 NiceHCK Bro model. One enthusiastic Head-Fier compared the NiceHCK N3 with the Campfire Andromeda (nah…), but Loomis nevertheless added it to his 2019 favourites.

NiceHCK have made themselves a name mainly with budget earbuds and quality earphone cables in all price categories. Their earphones, on the other hand, have been hit and miss, mainly because of poor tuning, but most of them have at least been interesting.

Their recent two midprice models are still in their catalogue at the time of this review: the $119 NX7 Mk3 with 4 BA + 2 DD + 1 piezo with exchangeable screw-on tuning nozzles (and exchangeable faceplates) and the $239 Lofty with their Beryllium-coated dynamic driver. The first had a piezo working against the other drivers and the second was overly ordinarily U-shaped for its price tag.

Their latest NiceHCK M5 sport 4 BA + 1 DD and 3 exchangeable tuning valves, which are actually back vents. We’ve seen this recently in the Hidizs MM2.

Specifications

Physical Things and Usability

In the box are the earpieces with three tuning vents (grey:balanced/red: mid-treble/blue: basshead), screwdriver (!!!), 2 sets of eartips (S/M/L), silver-plated high-purity copper cable, a pleather storage case, and the paperwork.

The shells consist of 3D printed German resin shells with aluminum alloy faceplates added. They are small and ergonomic, with good fit and comfort. Nevertheless is the design somewhat boring and home made to me. Isolation depends on eartips used. It is mediocre with the SpinFit CP145.

The included monster screwdriver is somewhat comical and you have to have a quiet hand not to scratch the faceplates during vent change.

Tonality and Technicalities

The NiceHCK M5 offers 3 different sonic signatures, depending on tuning filter used: super bassy, warm-bright, and neutral-bright. The blue bassy filter yields a horribly vulgar sound and is largely omitted here. The grey “normal” filter creates an ordinary middle-of-the-road sound, and the red “treble” filter introduces harshness by the dialled down bass.

None of these signatures is tolerable to me without further modification: I taped 90% of the nozzle mesh off with 3M micropore tape, as so often with Shenzhen earphones in the past. This reduces the over-energized upper midrange, it rounds the sharp edges to some extent and adds volume to the midrange. Without, the midrange is breathy, thin, and strident.

Grey “normal” Filters

This yields a middle-of-the road sound that could not be more unexciting to the educated ear. Bass is very well extended but thumpy and somewhat fuzzy. It lacks definition and finesse. A bass we know from cheap iems. The thick bass dominates the whole presentation. Wonder what dynamic driver there’s in it.

The bass bleeds into the lower midrange, which is attenuated by the upper midrange energy. The micropore tape does a good job in removing midrange harshness. The M5 sounds smoother in the lower midrange than the modded Rose Qt-9 mk2s, though voices are honky and boxed in.

Lower treble is rolling off in panic and gets re-energized at around 9 kHz. This moves higher notes back and adds some tizziness…

The soundstage is relatively narrow but has good depth. Timbre is just ordinary and a turnoff for the educated listener – particularly at this price. The M5 sounds…cheap.

The other technicalities are ok. Midrange resolution is good, midrange note definition is good, too. Note weight is lean in the midrange. Spatial cues is decent as long as there is not much bass in the music.

Red “neutral” Filters

Reduces bass quantity without improving bass quality. This moves the midrange forward and adds harshness to the image while removing warmth – it becomes overpixelated, like an early-generation digital photo. Notes are very edgy. Bass is now thumpy in the background and anemic, vocals are strident, despite the micropore tape.

But midrange clarity, articulation, and transparency are greatly improved in my perception (but in my perception only), stage widens but becomes shallower. Still, bass and midrange don’t fit together. My ears can handle this sharpness only for a few minutes.

Blue “bassy” Filters

Horribly overdone thumpy bass. Just like your steak dinner drowned in barbecue sauce. Vulgar!

Concluding Remarks

The NiceHCK M5 are no outright bad earphones. They are pleasing to the lesser educated ear and therefore may be a good choice for the novice with well-filled pockets. But the over-energetic upper mids require user modding with micropore tape, and the stock tips are useless.

Of the exchangeable tuning filters, the “normal” ones create an ordinary sound and the red ones with reduced bass a harsh sound. And the humongous screwdriver for installing them is outright ridiculous.

In summary, the M5 sound “middle of the road” (a rather narrow road that is) but don’t do anything above average nor do they look or feel special. The M5 cannot compete with their peers such as Moondrop KATO. Their tuning, particularly in the midrange, is yesteryear.

I don’t think NiceHCK understand how to market the capitalist part of the world. Just sticking some drivers into a shell while ignoring the competition is not good enough. The M5 are simply nothing special, they lack finesse, are uninspiring, and they are not competitive at $179.

Until next time…keep on listening!

Gallery

The post NiceHCK M5 Review – Ordinary Life appeared first on Music For The Masses.

Cons — Deserves a tad more upper midrange and treble extension for a wider stage and more sparkle; not the fastest driver; limited applicability of third-party eartips.

Executive Summary

Introduction

IKKO is a Chinese manufacturer that has initially delighted us with their very few however innovative <$200 earphones (and accessories). Their first iem, the IKKO OH1 stood out by its metallic, unconventional shells with a great haptic. The “masterfully jazzy” well-dosed V-shaped IKKO OH10 made it onto our Wall of Excellence. They excel by their superb imaging and staging – and offer a sniff into the premium segment at a mid-tier price.

The – in contrast to the OH10 – brighter tuned IKKO OH1S is a highly underrated marvel, possibly because many influencers had their listening experience guided by the frequency response graph. The OH2 is physically very similar to the OH2. It appears that IKKO wants to appease those customers with there OH2 who found the OH1S too spicy. Will it work?

IKKO are currently expanding their product range into dongles such as the IKKO Zerda ITM01, microphones (for YouTubers), small speakers, and other desktop accessories.

Specifications

:

Physical Things and Usability

In the box are the earpieces, the cable, a set of IKKO I-Planet foam tips, a set of oval silicone tips, a storage wallet, an IKKO pin, an MMCX tool for safely disconnecting cable and earpieces, and the paperwork.

Just like the OH1S, IKKO OH2’s shells are premium built with mostly aluminum alloy and some resin, and they feature one of the companyʼs trademarks: oval nozzles, which help forming any eartip into the cross-sectional shape of your ear canals.

The shells are rather small and light compared to the OH10, they look and feel great, sit firmly in my ears and are very comfortable. The small size of the earpieces is certainly a huge asset. Isolation is not the greatest for me.

I find the haptic and ergonomics premium: 10/10.

I really like the included cable (same as with OH1S): spindly, wiry, light. Coated with hard pvc, it has the right stiffness for me and is not rubbery at all. Great in the days where cables are increasingly becoming ropes pulling our ears down. Less is more, also in this case.

Tonality and Technicalities

IKKO have tuned the OH2 differently from their other popular models. It is not V-shaped like the OH10 – and it is not as treble extended as the OH1S, although both share the relatively flat frequency response up to 1.5 kHz. As in so many cases, the OH2’s frequency response graph is literally misleading as it leads speculations into the wrong direction.

From a helicopter perspective, the IKKO OH2 is somewhat dry and slightly warm sounding iem. For me, the included IKKO I-Planet foam tips worked best. But foams in combination with my ears always generate a rather dry bass.

And it is rather dry indeed. Sub-bass extension is good, there is plenty of rumble down there, and there is no boomy mid-bass peak. Nevertheless could the bass be tighter – and it probably is with a different tips/ears combination. I’d call the bass typical for mid-price single dynamic-driver iems, but nothing special. It is certainly not the fastest around and can be somewhat blunt in some recordings.

The vocals have very good weight and decent definition, they are not set back, which is an asset at this price tag. There is a small congestion from the hesitant upper midrange (pinna gain is <10 dB) which compresses male and female voices a bit. A tad more energy at around 2 kHz would make them wider and airier. Higher piano and violin notes lack sparkle.

The top rolloff starts already in the upper midrange but becomes dramatic at above 5 kHz. Treble extension is audibly lacking and compromises stage width and overall sparkle/air.

And whilst stage is narrow, it has a good height and depth. Imaging and spatial cues are good and resolution, separation, and layering are average. The OH2’s biggest sonic assets are its note weight and its very natural timbre.

IKKO OH2 Compared

The $79 Hidizs MM2 with their exchangeable out vents are more versatile and may have slightly better imaging and staging (more headroom), but I find the OH2 have a better organic reproduction , note weight, and cohesion. Instant wow effect vs. slowly growing likability! I also prefer the OH2’s smaller earpieces for their small design and premium haptic whereas the light yet bulky MM2 shells are reminiscent of the budget KZ fare. I’d say the OH2 appeal more to the older, mature crowd (like me) and the MM2 preferably to teenagers.

The $79 Moondrop Aria, viewed as the dynamic-driver standard below $100, is much faster, brighter, and leaner than the OH2. It is technically cleaner with a better defined low end, a better extended treble, and more width. But it also has an upper midrange glare that may be unpleasant for some. The OH2 is less analytical, warmer, deeper, but also thicker in its performance, it has more “soul” and is more engaging to me. The Moondrop may be the “better” earphone, but the OH2 is more enjoyable to me.

The main question may be how the OH2 compares to the $159 IKKO OH1S? Well the OH1S may be brighter but they benefit from their treble extension, which results in a wider stage and better imaging. They provide more headroom. They also have better note definition and resolution. I’d say the price difference is justified – and I, quite frankly, prefer the OH1S as they are the better iem.

Concluding Remarks

IKKO iems are totally underrated in the internet’s echo chambers that cultivate herd mentality pushing überhyped yet short-lived products to promote compulsive buying habits. IKKO iems have a long shelf live for a reason.

The IKKO OH2 are the mellow alternative to all these brightish <$100 earphones such as the Moondrop Aria. They impress by their haptic and accessories, which are essentially identical to the OH1S at twice the price. They further have a decent tonality with an intimate midrange and an organic timbre.

The OH2 will appeal to the more mature budget “audiophile”, who cares about substance rather than gimmicks.

To give you my personal perspective: I really like the OH2 a lot – and not only for their sound but also for their handling (the importance of which for daily use is typically undervalued in reviews). But then again, I could say the same about the OH1S and OH10.

Until next time…keep on listening!

The post IKKO OH2 Review – A Purist’s Daydream appeared first on Music For The Masses.

Cons — Rose-gold accents on the Hidizs MM2 cable might be a turn off
– Lower-midrange recession
– Upper-midrange sounds strained on treble and neutral filters
– Steep treble roll-off post 7kHz.
– Needs to be priced lower to be competitive

INTRODUCTION

Before proceeding with the review, I should clarity that this review is an extension of Jürgen’s take on the Hidizs MM2. As such, I’ll just breeze through the usual build quality/packaging sections and go straight for the sound analysis.

Hidizs’s latest IEM release are the MM2 and they feature a hybrid setup with 10.2mm dynamic driver for bass and mids + 6mm magnetostatic driver for the treble. This combo is often seen on more budget-tier IEMs so Hidizs need to differentiate their product somehow. Turns out, they opted for a tuning system based on removable screws on the back of the IEMs.

Let’s see if the tuning system alone is enough to make the Hidizs Mermaid MM2 an worthy contender in the <USD $100 IEMs space.

Note: the ratings given will be subjective to the price tier. Hidizs sent the MM2 for evaluation.

Sources used: Lotoo PAW 6000, Sony NW-A55
Price, while reviewed: $80. Can be bought from Hidizs’ Official Website.

PHYSICAL THINGS AND USABILITY

ACCESSORIES

Both the stock cable and the carrying case deserve a mention here, since they are some of the best you can find in the packaging of IEMs under USD $100. The stock cable is supple, doesn’t tangle easily, and looks great. The carrying case is somewhat over-engineered yet maintains a muted outlook. Rather unexpected for a pair of budget IEMs.

BUILD QUALITY, FIT, COMFORT

I agree with Jürgen regarding the build quality, fit, and comfort. His review also went through the mechanism of the tuning filters (which are rear-mounted instead of being front-mounted) so check that one out for further details.

I should note that I prefer the rear-mounted filter system as opposed to nozzle or tip mounted ones since they are more cumbersome to swap. Also it’s need stating that the passive noise isolation is below average, as the rear-vents allow noise inside. No driver-flex was noticed which is a plus.

HIDIZS MERMAID MM2 TONALITY AND TECHNICALITIES

The general sound signature of the MM2 can be described as variations of “V-shaped” tuning with varying degrees of bass and lower-treble depending upon the choice of rear-filter.

I think the bass response is the star of the show here with punchy mid-bass and good amount of rumble in the sub-bass region. The slam is also above-average so these drivers are moving good amount of air.

The issue arises in the lower-mids region where, with the stock and bass filter mids sound too recessed, resulting in distant male vocals, snare hits etc. The aggressive pinna gain around 2.5kHz compounds this further with high-pitched or soaring vocals sounding strained, as can be heard on Alexisonfire’s This Could Be Anywhere in the World. The male vocals do gain a bit of thickness with the bass filter but then again the large amount of mid-bass drowns out the subtle articulations of voice, resulting in a lack of resolution.

Treble peaks around 4kHz and then goes for a steep decline from 7kHz onward. This robs off the airiness of cymbals and hi-hats, resulting in a muted presentation devoid of shimmer and resonances. The magnetostatic driver is supposedly aiding the treble response and whereas some magnetostatic timbre can be heard, the sheer extension is lacking. Treble overall is not bad, it is just unremarkable.

What is remarkable though is the staging performance of the Hidizs MM2. Stage is wide, with instruments often being placed outside your ears in binaural tracks, e.g. Amber Rubarth’s Strive. Stage depth also seems above-average though that is mostly attributable to the lower-mids recession. Imaging was above-average though lacked the precision of some of their peers. Instrument separation is above average but is often let down by the overshadowing bass.

Jürgen mentioned the timbre to be somewhat plasticky and unnatural. I wouldn’t call the timbre plasticky myself but it definitely lacks some of the richness one would expect from a natural-sounding setup.

SELECT COMPARISONS

vs Dunu Titan S

Dunu’s budget model of the refreshed Titan series have 11mm dynamic drivers with LCP diaphragm. Dunu went for a more neutral-bright tuning with the Titan S and the driver is also faster than the MM2 during transients. Due to the upper-mid and treble focus, the bass on the Titan S doesn’t have as much authority as the MM2 bass.

One area where the Titan S surpasses the MM2 is sheer resolution, with the Titan S being more revealing of mastering flaws and also having better imaging. Staging is not as wide and tall as the MM2, however, neither is the macrodynamic punch as evident.

Given the similar price, the Titan S offer great value for those who are after a neutral-ish pair of IEMs. The Hidizs MM2 will cater more to those who prefer a mainstream or V-shaped tuning, or those who find the Titan S to be overly bright.

CONCLUDING REMARKS

The IEM market is the most ruthless in the under USD $100 segment as new models pop up almost daily. Hidizs MM2 stand out with great accessories and a filter-system that is quite unique, while offering various levels of bass.

Unfortunately, the mids and treble frequencies are somewhat off in terms of tuning and that mars the experience. The treble roll-off hurts the sense of resolution the most, something one would expect from IEMs at this range.

I do think the Hidizs MM2 would offer better value had they been priced somewhat lower, and just like Jürgen I’d also assume $20 -30 lower retail price based on sound alone. The accessories are quality however, so maybe you are paying the extra for those goodies.

MY VERDICT

3.25/5

Contact us!

DISCLAIMER

Get it from Hidizs Store

Our generic standard disclaimer.

The post Hidizs MM2 Review (2) – Yet Another Budget Contender appeared first on Music For The Masses.

Cons — Timbre not the most organic; large shells; rose gold not for everyone.

Executive Summary

The Hidizs MM2 is a well resolving iem that let’s you adjust the sonic signature with three screw-in outer vents. Another novelty is a magneto-static driver for the treble.

Introduction

Hidizs are a Chinese company that came on strong recently with their dongles and digital analog players. We analyzed their popular S3 Pro and S9 Pro DAC/Amps and their very good AP80 and AP80 Pro X players. As it looks, the company has a bit of catching up to do when it comes to earphones. Their MS1 Rainbow model received a mixed reception from Durwood and Loomis.

Hidizs’ latest MME iem implements a few semi-novel ideas, “self tuning” and a magneto-static driver for the uppermost frequencies.

Earphone tuning, the practice of generating a specific frequency response, has become an important marketing tool. YouTube/blog influencers lately picked up on it, projecting their personal preferences in the shape of “target graphs” onto the consumer – which provides a new revenue stream for them and the companies alike.

The consumer also benefits – from the lack of unpleasant surprises: no more “screamers” with icepick signatures in the mail anymore means much less risk of losing our money. On the downside, the consumer has to cope with silly avatars of the “celebrity tuners” on the shells – and an extra royalty to them.

So, why not do it yourself? There are several methods to tune your earphone according to your taste. First, the old “taping vents and nozzle methods”, as described in many of our reviews and also explicitly in our blog. This is referred to as “reversible modding“, which is based on simple physical principles. It is called “reversible”, as you can easily bring the iem back to its original state without any damage done to it.

But there are more convenient methods. For example, the Anew X-One comes with tuning modules that are being plugged into the faceplate. These look like little opamps and probably alter the earphone’s impedance. JVC’s HA-FDX1 deploy exchangeable nozzles containing different filters that change the midrange frequencies but keep the low end consistent. BQEYZ use a different method in their Autumn iem in that the user can change the width of the inner vent with magnetic pucks.

Hidizs have yet another approach to user tuning in their $79 MM2 by providing screw-in outer vents that change both lower and midrange frequencies. For the case you are confused now: the physics of “venting” is explained in our article. Let’s see how well it works for the MM2.

Specifications Hidiz MM2

Physical Things and Usability

In the box are the earpieces, cable, 2 sets of silicone earpieces (wide-bores and narrow-bores), 3 sets of tuning valves (bass, normal, treble), carrying case, and the paperwork.

Each screw-on tuning valve represents an outer vent. The included tuning vents therefore differ in opening diameter: the bigger the “hole” the more bass is produced.

The earpieces are very light and somewhat bulky…you see a lot of space inside them. But maybe these large “resonance chambers” are needed for the sound signature. They fit well, are comfortable, and don’t seal very well for my ears. Their lightweight comes in handy.

The cable is excellent: pliable, light, and it has no microphonics. Just the rose gold colour mix (and maybe the handbag-like carrying case) may not hit everybody’s taste. Both sets of eartips fit me well but I prefer the wide-bores.

Tonality and Technicalities

Equipment used: MacBook Air | Earstudio HUD 100 (low gain) with AudioQuest JitterBug FMJ | stock bass filters | stock wide-bores.

Since Hidizs give you the option to perform your own tuning with the included screw-in filters, I started tinkering with them…and finally decided on the bass vents as the created the “most substantial” sound experience for me with a great vocals reproduction.

In the big picture, the Hidizs MM2 is all in one: a neutral sounding iem (normal filters), a warm one (bass filters), and a screamer (treble filters ).

In my favourite “bass” configuration, the MM2 deliver a “fun” signature with some surprisingly good sonic characteristics.

Bassy filters means serious bass, without being too serious. Focus is on sub-bass. It digs deep, very deep – and with some energy. Mid bass slam has still good impact. This makes the low end a bit blunt and less tight than I want in some tracks. I don’t think the bass is overdone, though. All in good doses. It’s fun tuning after all.

The transition to the midrange works rather well. I would not call it bleed but the bass re-inforces the vocals in the lower midrange department quite efficiently. Although recessed, female and male voices are not lean or thin but have some nice richness and creaminess. They are not your stale black coffee but more a mocha latte with 2% milk. Notes are surprisingly well rounded. The MM2 beats a notorious weakness of budget iems in this department. And, although there is enough energy in the vocals, there is no shoutiness.

Treble is well resolving. Cymbals are very crisp, clear, and well carved out, but also a bit robotic, which is an artifact of this kind of driver. And since the treble sits a bit back, the cymbals are frequently covered up to some extent. I take it the magneto-static drivers are connected and working (as opposed to some of the competition’s).

Stage is no the widest but has good height and decent depth (with the bassy filters). Resolution, separation, and layering are astonishingly good. But…the timbre…is somewhat plasticky and could be more organic. Once I got used to it is as fine. That’s the biggest concern I have about this earphone – and I’d take $20 off for that.

And if you want to know how the MME compares to its peers, you find it in Kazi’s review.

Concluding Remarks

So why not tune yourself? By screwing in tuning filters you also screw the noisy YouTubers…that bad pun may be allowed. Hidizs have done a decent job with the MM2 and the tuning filters, which can be helpful particularly for newbies who want to learn different sonic signatures. Nevertheless, the MM2 could be $20 cheaper imo. But, maybe Hidizs let you tune your own price, too…see included coupons.

Until next time…keep on listening!

The post Hidizs MM2 Review (1) – Screw The Tuners appeared first on Music For The Masses.

Hidizs’ new MM2 earphone features 2 drivers, a dynamic and a magneto-static one. It features three different screw-in outer vents to vary bass response. (you find the physical principles here). I have not had much testing time yet so I cannot yet comment on the sound.

Here you have the opportunity to check out the MM2’s physical features.

Specifications Hidizs MM2

Images

The post PhotoGraphed: Hidizs MM2 appeared first on Music For The Masses.

Instead of first impressions, we offer completely flavour-neutral optical treatments before following up with our exhaustive reviews of the products’ performances.

Current Photography

1. BQEYZ Autumn vs. BEQYZ Summer (Jürgen Kraus)
2. Hidizs MM2 (Jürgen Kraus)
3. IKKO OH2 vs. IKKO OH1S (Jürgen Kraus)

Vintage Photography (prior to March 2022)

1. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
2. Anew X-One (Jürgen Kraus)
3. Blon BL-05 Beta (Jürgen Kraus)
4. Blon BL-05 Beta (Jürgen Kraus)
5. Blon BL-05 MKI & MKII (Jürgen Kraus)
6. BQEYZ Spring 1 (Jürgen Kraus)
7. BQEYZ Spring 2 (Durwood)
8. CCA CA16 (Durwood)
9. Drop + JVC HA-FXD1 (Jürgen Kraus)
10. Fidue A65/A66 (Jürgen Kraus)
11. FiiO FD1 (Jürgen Kraus)
12. FiiO FHs1 (Jürgen Kraus)
13. Hill Audio Altair • RA (Jürgen Kraus)
14. iBasso IT01 V2 (Jürgen Kraus)
15. Hilidac Atom Pro (Jürgen Kraus)
16. Ikko OH1 (Jürgen Kraus)
17. KBEAR Believe (Jürgen Kraus)
18. KBEAR Diamond (Jürgen Kraus)
19. KBEAR hi7 (Jürgen Kraus)
20. KBEAR KB04 (Jürgen Kraus)
21. KBEAR Lark (Jürgen Kraus)
22. Kinboofi MK4 (Jürgen Kraus)
23. KZ ASX (Jürgen Kraus)
24. KZ ZSN Pro (Slater)
25. Moondrop Crescent (Jürgen Kraus)
26. Moondrop Illumination (Jürgen Kraus)
27. Moondrop Kanas Pro Edition (Jürgen Kraus)
28. Moondrop SSP (Jürgen Kraus)
29. Moondrop SSR (Jürgen Kraus)
30. Moondrop Starfield (Jürgen Kraus)
31. NiceHCK Blocc 5N Litz UPOCC OCC Copper Earphone Cable
32. NiceHCK Litz 4N Pure Silver Earphone Cable (Jürgen Kraus)
33. NiceHCK NX7 (Jürgen Kraus)
34. NiceHCK NX7 Pro (Jürgen Kraus)
35. Queen of Audio Pink Lady (Jürgen Kraus)
36. Revonext QT5 (Slater)
37. SeeAudio Yume (Jürgen Kraus)
38. Senfer DT6 (Slater)
39. Sennheiser IE 300
40. Sennheiser IE 500 PRO
41. Shozy Form 1.1 and Shozy Form 1.4
42. Shozy Form 1.4 (Jürgen Kraus)
43. Shozy Rouge (Jürgen Kraus)
44. Simgot EM2 (Jürgen Kraus)
45. Simgot EN700 Pro (Slater)
46. Smabat ST-10 (Jürgen Kraus)
47. Tin Hifi T2 Plus (Jürgen Kraus)
48. Tin-Hifi T4 (Jürgen Kraus)
49. TRN-STM (Jürgen Kraus)
50. TRN V90 (Jürgen Kraus
51. TRN-VX (Jürgen Kraus)
52. Whizzer Kylin HE01 (Jürgen Kraus)

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Pros — Cheapest snake oil in audio; excellent build, haptic, and looks; rugged and attractive looking; reasonable price and shipping.

Cons — Shipping cost only calculated upon checkout.

EXECUTIVE SUMMARY

The Snake Oil Taipan are sturdy RCA connectors made from German Sommer cable and American premium Amphenol connectors, and they are assembled in the USA.

INTRODUCTION

We love snake oil. If you search our blog for these keywords, you get…just try it:

https://www.audioreviews.org/?s=snake+oil

Snake Oil Sound is a 2-men startup out of a garage in San Jose, CA. 2 guys? Garage? California? Sounds familiar?

That’s how he world’s most valuable company started. But whereas Apple have never had any self irony, Snake Oil have. The company specializes in after-market accessories for Schiit products (cables, connectors, even a streamer), and they certainly have come up with some good ideas. Check out their catalogue.

I came across Snake Oil when looking for RCA interconnects for the Khadas Tone2 Pro/Topping L30. There are tons of quality cables out there, which were either too pricey for me – or the extraordinary shipping cost higher than the product itself made them cost prohibitive.

Snake Oil sell directly without middlemen. They offer international shipping at cost – per USPS, which is about $12 to Canada. They obviously understand their customers. Unfortunately (for them) I had already submitted an order to some Chinese budget cables. And fortunately – for them – these were too short for my purposes, so that we agreed on me reviewing one of their cables. I opted for the Snake Oil Taipan, their TOTL model, which retail at a reasonable $33 per footlong pair.

SPECIFICATIONS

Product Name: Snake Oil Taipan
Length: 6 in to 1000 ft
Wire Material/Conductor: 0.5 mm² German SOMMER cable
RCA connectors: Premium Amphenol
Tested at: $33 for1 ft/pair
Purchase Link: Snake Oil Sound

PHYSICAL THINGS AND USABILITY

There is really not much to say. The cables were hand assembled upon ordering and arrived in a simple plastic bag. The amphenol premium connectors are well known to and appreciated by audiophiles. They are sturdy and sit as snug in place as it gets. The rugged cable part is imported from Sommer Cable in Germany. Two quality items, brought together in California.

The overall construct is highly functional and therefore rather substantial and very sturdy. The cable is reasonably supple and rebranded with the Snake Oil label. And it is this visible irony that makes this product unique.

SOUND: REFINING SNAKE OIL

I have reviewed quite a few earphone cables in my life – but never dared to make broad statements that one cable sounded universally better than another. Differences in sound rely on a lot of factors and are always tied to the properties of the electronics the cable is used with, the source and the amp.

Now I have finally arrived at the Snake Oil itself. And yes, the Snake Oil Taipan sounds good. So good that I use it to connect the Khadas Tone Pro to the Schiit Magni 2 Uber and Topping L30. Yep, it works well, it connects well, and it looks good. And that’s all I need. I compared the Taipan with some well-made but older Radio Shack cables. The Taipan delivered a fuller sound at the bottom end, the Radio shack sound was less bassy and visceral – which only applies to this particulate setup. This does not mean it sounds better than the Radio Shack cable, it only means it transfers more of the lower frequencies. Depends which signature you prefer.

Snake Oil Taipan – The Movie

CONCLUDING REMARKS

I had done a few cable reviews before – and had mentioned the term “snake oil” in each of them. Yes, any two cables can sound different (with the same electronics), but this has, in many cases, little to do with price (or optics). A well-constructed, well-shielded cable with good connectors is all you need for decent sound transfer.

The Snake Oil Taipan incorporates German and American quality parts and does the job – and it does it well. It is assembled in the USA and affordable. I really liked the company’s “at a cost shipping” to Canada.

What else do you want?

You can have never enough Snake Oil in your audio…which is typically highly overpriced! But not in this case.

Oh, and I append a few images below that give you some idea of the Taipan’s physicalities – and an accompanying video is in the works.

Until next time…keep on listening!

Contact us!

DISCLAIMER

I received the Taipan cable from Snake Oil Sound for my review – and I thank them for that.

Get the Taipan directly from Snake Oil Sound.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

Gallery

The post Snake Oil Taipan RCA Cable Review – Sonic Poison Attack appeared first on Music For The Masses.

Cons — None.

INTRODUCTION

The NiceHCK Litz 4N Pure Silver Cable is the company’s budget offering in terms of pure silver Litz wire at around $20. In this price category, most earphone cables are either pure copper, occ copper, or silver-plated copper. Since different materials harmonize differently with different earphones in some (but not all) cases, it is always good to have a cable of each material in your modding box.

SPECIFICATIONS

Product Name: NiceHCK 4N Litz pure silver cable
Material: 4N pure silver
Internal Core Structure: 0.08*10, 4 Strands 40 Cores; 1.2m±3cm, Internal Core 0.092mm with Litz
Cable Diameter: 28AWG（Inside Diameter 0.33mm，Cross Sectional Area 0.0553mm²）
Outer Material: American PVC
Insulation Material: Litz
Length: 1.2 m ± 3cm
Impedance: < 0.3ohm
Inudctance: 0.4uF/ft
Solder : WTB Solder Silver Solder
Plug Types: straight 3.5 /2.5 /4.4mm
Connector: MMCX/0.78mm 2Pin/QDC 2Pin/NX7 2Pin
Plug material: Carbon Fiber & Stainless Steel
Splitter Material: Carbon Fiber & Stainless Steel
Tested at: $20
Purchase Link: Nice HCK Store

PHYSICAL THINGS AND USABILITY

TECHNOLOGY

The important technologies used in the NiceHCK 4N cable are “Pure Silver” (material) and Litz (internal cable structure).

Litz is a special type of multistrand cable designed to reduce skin and proximity effect losses in conducturs at below 1 MHz. It consists of many thin wire strands, individually insulated and twisted or woven together, following one of several carefully prescribed patterns frequently involving several levels (groups of twisted wires are twisted together, etc.). The result of these winding patterns is to equalize the proportion of the overall length over which each strand is at the outside of the conductor. This has the effect of distributing the current equally among the wire strands, reducing the resistance.

The “N” number in 4N refers to degree of copper purity. 4 refers to four nines as in 99.99% pure copper (5N would mean 99.999% and so on). 

HAPTIC & BUILD

NiceHCK Litz 4N Pure Silver Cable is rather filigree: it is thin, light, and inconspicuous. The braid is rather loose. The wire is is covered with PVC, which makes the cable soft and pliable, and that shiny outer material appears to be dirt and grease repellent. The MMCX connectors are of good quality…they clicked in snug wherever I tried. The memory wire is also thin and of intermediate tension. The wires were comfortable around my ears. The headphone plug is also robust and the chin slider comes in handy. I underline my description with some photos below.

COMFORT

The memory wire fits snug around the ears without pressure and the cable is as light as it gets so that the NiceHCK Litz 4N Pure Silver Cable is as comfortable as it gets – it is also comfortable against the skin. The chin slider helps holding the cable in place.

NOISE TRANSMISSION

There is zero microphonics. Very good.

COMPATIBILITY

The NiceHCK Litz 4N Pure Silver Cable comes with a variety of connectors to fit any conventional earphone shells: MMCX/0.78mm 2Pin/QDC 2Pin. You can also choose the plug: 3.5 /2.5 /4.4mm.

JEWELRY EFFECT/LOOKS

The NiceHCK Litz 4N Pure Silver Cable – as said – is on the subtle, inconspicuous side. The silver-and-black connectors are neutral enough looking to fit any earphone.

SOUND?

I had expressed my informed opinion on cable sound differences in my recent NiceHCK Blocc 5N UPOCC Copper Litz Cable review [HERE]. My main points are summarized as follows:

1. Cables can make a sonic difference, mainly with multi-driver earphones
2. This difference possibly relates to impedance, wire material, and wire structure
3. Impedance differences may in some cases be large enough to result in different sound volumes and can also alter the earphone’s frequency response; such changes in the frequency response can be calculated
4. Cables may not make any difference with some earphones
5. Listeners often mistake volume increase due to lower impedance for sonic improvement
6. The sonic differences between cables are largely independent of price
7. If sonic differences between cables exist, they are not universally valid but only relate to that particular earphone and the cables used in that particular comparison
8. Eartips are the cheaper alternative to achieve a different sound
9. Expensive upgrade cables may sound worse with your favourite earphone than stock cable
10. One may be better off spending the upgrade cable’s price on better earphones

From my experience, a silver-plated copper or an occ copper cable may add brightness, and therefore some sparkle to a warm sounding earphone, and a pure-copper cable helps taming boosted, piercing upper midrange peaks. This is just a rule of thumb that needs to be re-confirmed for every earphone. But these sonic differences are independent of price.

The NiceHCK Litz 4N Pure Silver Cable works very well with the rather polite KBEAR TRI I3 earphone that requires amplification and has an early treble rolloff – and I just kept this cable on as my go to. With this earphone, the pure silver cable works equally well or better than the NiceHCK Blocc 5N UPOCC Copper Litz Cable at 5 times the price (but was certainly not worse sounding) – but this is only valid for this particular earphone. 

CONCLUDING REMARKS

The main characteristic of this cable is its pure silver conductive material at a relatively low price. Pure silver may have – but not always – favourable sonic effects on certain earphones. It is therefore good to have a pure silver cable in the toolbox, along with pure copper, occ copper, and silver-plated copper. With any given earphone, cable materials may make no difference at all or they make a big difference — but potential sonic improvements are mostly not correlated with price.

What makes no difference is price — and looks are not correlated with sonic quality either. Don’t get carried away by snake oil, buy responsibly, look for deals, and be aware that your earphone and “upgrade” cable don’t harmonize or that the cable is pure jewelry. And why not.

Until next time…keep on listening!

Contact us!

DISCLAIMER

The NiceHCK Litz 4N Pure Silver Cable was provided unsolicited by NiceHCK store – and I thank them for that.

Get it from NiceHCK Audio Store

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post NiceHCK Litz 4N Pure Silver Cable Review – Well Well Well appeared first on Music For The Masses.

Supercrush, SODO Pop—hard edged, jangly guitar band sounds exactly like classic Teenage Fanclub, albeit without the Scottish accents. Which, since Teenange Fanclub hasn’t sounded like itself for years, is a good thing. (“I Cant Stop Loving You”; “Get It Right”).

Young Jesus, s/t—haunting postpunk from LA variously evokes Talk Talk and shoegaze, while  the principal croons uncannily like Jeff Buckley. The long, meandering songs and poetic, stream-of-conscious lyrics are oddly hypnotic, though they keep you off guard with some jagged metal passages. This is a real find.

Phoebe Bridgers, Punisher—this sort of femme altfolk definitely ain’t my genre, and she’s neither musical nor big-voiced enough to grab me. She is, however, a brilliant lyricist—sardonic, fearless and funny—and this is worth the megahype if only for “Moon Song” (“we hate Tears in Heaven/but it’s sad his baby died”).

Holy Wave, Interloper—spacey neopsychedelics mine the same Spacemen 3-meets-Krautrock vein as peers like Wooden Shjps, but are hookier and more tuneful, with well-crafted songs, understated vox and a keen sense of dynamics.

Orange Humble Band, Assorted Creams—something of an underground supergroup founded by Aussie Daryl Mather, who enlisted powerpop luminaries like Ken Stringfellow and Mitch Easter to sing his unfailingly catchy tunes. Strangely soulful in spots, though there’s an Americana, countryish vibe to much of this, while songs like “Fanclub Requiem” and “Little Picture Story Book” have the feel of classics. Impecable production.

Eleventh Dream Day, Beet—long running Chicago altrockers in the vein of Yo La Tengo or the Feelies have been making good-to-excellent records since the late 80s, of which this is probably the earthiest. Rick Rizzo is a good shredder and a serviceable frontman, but it’s his ex-wife/drummer who writes and sings the best stuff here, like “There’s This Thing” and “Rose of Jericho”. 

John Prine, “Pink Cadillac” the venerable folk songwriter wasn’t known as a hard rocker or an interpretative singer (or, for that matter, as much of a singer) but here he covers classic rockabilly stompers like “Ubangi Stomp” and “Baby Let’s Play House” along with a handful of originals like “Saigon,” which sound just as authentic. Surprisingly raw and raucous; his Covid death this year is particularly irksome.

Palace Brothers, “There is no One What Will Take Care of You”—in the wrong hands this kind of rootsy, intentionally primitive alt-country can sound pandering, and I haven’t really connected with the rest of Will Oldham’s lengthy oeuvre. This debut, however, is something of a lo-fi masterpiece, with his cracked warble somehow meshing perfectly with melodies so primal you wonder why you’ve never heard ‘em before. (“Long Before”).

Flaming Lips, “American Head”— I’ve always admired their ambition, but found most of their records since 1993’s “Transmissions from the Satellite Heart” to be generally forgettable. This latest retains the usual ork-pop template but, however, is surprisingly songful with wistful (and deeply disturbing) autobiographical tunes and real hooks (“Assassins of Youth”, “My Religion is You”).

Population II—“A La O Terre”—young French Canuck trio play a jammy, spacey sort of prog in the manner of Dungen, although I also hear a lot of exploratory, avant/ jazzy 60’s influences like Soft Machine and Can. They can play their instruments, but are more about atmosphere and feel than virtuosity, with enough heavy/noisy passages to awaken your inner metalhead.  I’ve had this on repeat for a week now.

Smashing Pumpkins, “Siamese Dream”—I have real issues with Billy Corgan’s mewling, hyper-emotive voice. Fortunately for him, this is a guitar record. Sonics/songwriting are beyond reproach. (“Rocket;” “Cherub Rock”).

Smashing Pumpkins, “Cyr”—the virtual antithesis of the aforesaid, there’s barely a guitar to be heard on this synth-laden New Wave horror.  A real singer might have mitigated some of the damage, but I’m not that convinced the songs are there, either. Lousy album cover.

Strum and Thrum: The American Jangle Underground 1983-1987—an unexpected gift for music geeks—28 tunes from the innumerable Rickenbacker-toting bands who emerged in the wake of REM. A few of these (Windbreakers, Absolute Grey) got some critical love (if not record sales) back in the day; others like The Darrows and Vandykes are wholly unknown even to obsessives like me, but are no less worthy. Much like 80’s Sarah and Flying Nun, there’s a shared ethos to these bands—melodic, pastoral and hooky as hell—and this is a nice counterpart to the glossy New Wave and heavy punk of its era.

The Gun Club, “Miami”—I’d previously underrated this psychobilly/cowpunk outfit,  who were  indifferently recorded and lacked the musical chops  of X or the campy charisma of the Cramps. On re-listen, however, they  were actually pretty great, with lotsa wild slide, some ace tunes like “Mother of Earth” and “Carry Home” and an intense lead singer who wails like a cross between Johnny Cash and the Wipers’ Greg Sage.

Vincent Gallo, “When”—gentle, ethereal balladry is the last thing you’d expect from the oddball filmmaker/actor, but this is haunting stuff. The best parts of this are just his guitar and quavery, almost feminine vox (think Jose Gonzalez or Bon Iver), though he periodically throws in minimalist keys or electronics for color. Perfect listening for before bedtime or after a few anisettes.

Verbow, “Chronicles”—the principal’s an excellent musician and Cobainesque singer best defined by his idolatrous worshipof Bob Mould, who produced here. First-rate tunes like “Holiday” and “Fan Club” would fit perfectly on a Sugar record, although the liberal deployment of cello gives a nice symphonic swell to these proceedings. 

Guided by Voices, “Do The Collapse”—a Ric Ocasek production reviled by purists who resent their transformation from shambolic lo-fi rock to polished, New Wave-y professionalism. I find it oddly endearing—Robert Pollard’s lyrics have never been more inscrutable, but Doug Gillard’s guitar cuts through all the studio trickery and the whole thing sounds good. “Teenage FBI” and “Surgical Focus” rank with the very best of Pollard’s 57,000 or so compositions.

Califone, “Roots & Crowns”—atmospheric blend of postrock, ambient, folk and blues from longtime Chicago scenesters. They have a unique ability to shift from spacey to thrashy to earthy without sounding schizophrenic. “The Orchids” is a perfect song.

Spinanes, “Manos”—90’s guitar/drum duo played a restrained sorta shoegaze/dream pop dominated by the sultry alto and interesting, cryptic tunes of Rebecca Gates. I like how they leave a lot of space between instruments without sacrificing power; occasional dissonance and guitar skronk keeps this from fading into mere pretty background. (“Dangle,” “I love That Party”)

Flamin’ Groovies, “At Full Speed—The Complete Sire Recordings”—after the departure of co-founder Roy Loney they mutated from Stonesy garage rockers to jangly Byrds/Beatles imitators. Here they do a surfeit of straight covers of their idols (along with an inspired version of “Werewolves of London”) along with a bunch of “originals” which, comically sophomoric lyrics notwithstanding, sound just as tuneful. Derivative as hell, but they have a fantastic guitar sound and this is like crack for power pop fans. (“Tell Me Again,” “You Tore Me Down”).

Rolling Stones, “Goat’s Head Soup (2020 Deluxe Remaster)”– as I understand it, a strung-out Keith left Mick to do the heavy lifting here, and coming off the visceral, cathartic “Exile,” this slick, mainstream follow-up can’t help but disappoint. That said, Mick does a yeoman’s job here–“Dancing with Mr. D” and “Heartbreaker” are mere product,  but he nails a bevy of uncharacteristically understated, ephemeral ballads like “Winter” and “Coming Down Again”, while the greasy Chuck Berry rewrites “Silver Train” and “Star Star” prove they haven’t lost their mojo. The demos and and bonus tracks on Disc 2 aren’t revelatory, but they include a tough live set, which, if nothing else, shows how much they’d miss Mick Taylor.

Robyn Hitchcock & the Egyptians, “Fegmania”—the  insects-and-ghosts fixations get repetitive, and unlike his idol Syd Barrett, his weirdness is more shtick than genetic. Yet like Barrett his songcraft is impeccable, and I’ve always envied his chiming, folk-influenced guitar. “Heaven” makes a fitting requiem for our dying planet.

Dramarama, “Stuck inWonderamaland”— my vote for the best American band of the late 80s (you thought I’d say the Pixies?). Majordomo John Easdale’s brilliant, concise tunes fuse the brainy decadence of  Lou Reed with the insular introspection of a Nick Drake, while the band rollicks like Mott or the NY Dolls. The FM classic “Last Cigarette” and the uncharacteristically Byrdsy  “Lullabye” are the obvious attention-getters, but it’s the lower, slower “It’s Hardly Enough” and “Would You Like” that will haunt you eternally.

Small Faces, “Ogeden’s Nut Gone Flake”—according to Steve Marriott, although co-credited, he wrote all their big hits, while Ronnie Lane wrote the uncommercial weird stuff. On this disc, while straight ravers like “Son of A Baker” and “Afterglow” roar mightily, it’s the weird stuff that elevates this to classic status. The wacked-out rock opera on Side Two has held up a lot better than “Tommy” or “The Wall”.

PJ Harvey, “Dry: The Demos”—not that Chrissie Hynde or Courtney Love don’t rock as hard as any boy, but they needed their bands to put them over. PJ, on the other hand, has always been a wholly self-contained unit, and her voice and guitar dominate even her more lavishly arranged efforts. These skeletal, acoustic versions of her loud debut make up in intensity what they lack in volume and, if nothing else, reminds you how goods these songs were.

Terror of the Deep, “The A-Team”—all of a sudden there are innumerable bands channeling the Go-Betweens (Twerps, RVG, Rolling Blackouts, etc.), but these Kiwis, with a Robert Foster soundalike at the mike, are the best I’ve heard. Their lyrics lack the sheer poesy of their forefathers, but they have the feel down cold. 

Nick Lowe, “Jesus of Cool”—this hyper-clever, studio-gussied sort of English pop can sound smarmy in the wrong hands, but this is great stuff, mainly because he has an instinctive genius for three-chord melody. He’s funny, too (“Marie Provost;” “Little Hitler”), though he’s at his best when he plays it straight, as on the white reggae “No Reason” and the unexpectedly tender “Tonight.” Drummer/Rockpile cohort Terry Williams swings mightily throughout.

Let’s Active, “Big Plans for Everyone”—like Game Theory or the underrated Superdrag, Mitch Easter connects the dots between Abbey Road and Big Star. His adenoidal voice is an issue for some, but he’s an outstanding musician and producer who can throw a lot into the mix without cluttering the sound. “Badger” ranks with “Waterloo Sunset” or “God Only Knows” for sheer beauty.

Shoes, “Elektrafied”—their playing was merely serviceable, although they harmonized beautifully, and they sang almost exclusively about perfidious girlfriends, but they had an uncanny knack for the giant, crunchy pop hook. This box set contains the three major label discs released in the wake of their lo-fi DIY masterpiece Black Vinyl Shoes.  The first two are virtually flawless—recording with  big-name producers in an actual studio did little to temper their melodic genius, and tunes like “Only in My Sleep” and “Now and Then” are time-capsule worthy.  By the third disc, Boomerang, you can sense them struggling for commercial relevance, with slower tempos and some ill-advised synth flourishes, although “In Her Shadow” and “Under the Gun” are among their best. The live set included here is surprisingly ragged.

Catherine Wheel, “Ferment”—on the basis of their later American releases I had dismissed these shoegazey Brits as mere Swervedriver/Ride wannabes. This comparatively raw debut, however, is one of the best records I’ve heard of late, with furious-but-fluid twin guitars, a limber rhythm section and a heartwrenching crooner in Rob Dickinson, who commands the stage without over-singing. The lighter-waving power ballad “Black Metallic” is the obvious hit, but the ruder deep tracks shouldn’t be overlooked. 

Café Racer, “Shadow Talk”—Chicago neo-psychedelics purr like a tamer Tame Impala, although they also evoke the gloomy post-punk of 80s Brits like Echo and the Cure. They’re not especially songful , but they’re atmospheric as hell, with a lovely flowing guitar sound, and this would make a fitting soundtrack to the pending apocalypse. 

Bob Dylan, “Rough and Rowdy Ways”—the Nobel laurels seem to have inspired him, as this is his densest, most literate set of lyrics since the 80’s. His melodic gifts, unfortunately, seem to have waned—most of these tunes are generic jump-blues or pallid Tin Pan Alley balladry—while his voice has settled into an uninviting Tom Waits growl, all of which make this better absorbed as poetry than as popular music.

Neil Young, “Homegrown”—just-unearthed 1975 set proves that his discards are better than most major artists’ hits.  Recorded around the same time as Tonight’s the Night and Zuma, this is folkier and more introspective (and at times weirder), but no less worthy.  The closers “Little Wing” and “Star of Bethlehelm” pinch melodies from JJ Cale and Johnny Cash, respectively, but are lovely nonetheless.

Bottle Rockets, “Live in Heilbronn”—they’ve made some very good studio records, but their real milieu is the barroom, which makes this live German set a good starting point. Usually typecast as alt-country, they actually hew closer to vintage Skynyrd, with live-wire guitars  and one of the best writers in the genre in frontman Brian Henneman. The funny, wise  “1000 Car” and “Gotta Get Up” are working-class anthems for the ages.

Urge Overkill, “Saturation”—their retro hipster pose was annoying, and their creative peak was short, but this is a great album, with memorable songs and excellent, fat-free production. Miscast as grunge, they’re really closer in spirit to sinewy classic 70’s Stones or Bowie, while kitchy-but catchy power ballads like “Turn Your Back” wouldn’t sound out of place on a Boston record. (“Postive Bleeding;” “Bottle of Fur”).

Dangtrippers, “Days Between Stations”—80’s Iowa jangle pop trio didn’t stray far from the  REM-inspired template of peers like Dumptruck or Guadacanal Diary, but stand out for their inventive guitar solos, Byrdsy harmonies and  some really sharp tunes like “Masquerade” and the searing “When Time Runs Out”

Golden Palominos, “Vision of Excess”—something of an underground supergroup built around drummer Anton Fier and a rotating cast of guitarists (most notably Richard Thompson) and vocalists (Michael Stipe, Johnny Rotten, an inspired-sounding Jack Bruce and the superlative, previously unknown Syd Straw). Sort of a cross between artsy King Crimson prog and the driving pop of Moby Grape (whose “Omaha” is covered here);  despite the pedigree of the musicians, this is no mere exercise in virtuosity—the songs have real hooks and there’s enough skronky edges to keep this sounding fresh. (“Boy;” “Kind of True”).

The Jam, “In The City”—Pete Townsend recently complained in an interview about how hard it was to play with Entiswistle and Moon, whose lack of musical discipline left it to Townsend to hold the rhythm together. His acolyte Paul Weller had no such problem—his bassist and drummer stay locked-in even at their thrashiest. This debut isn’t breathtakingly original, but shows plenty of pop smarts and steers clear of the Grand Statements and over-earnestness that marred Weller’s later works. (“Art School”).

Fiona Apple, “Fetch the Bolt Cutters”—this has quickly been anointed a masterpiece (including a perfect 10 from Pitchfork), and while it’s not quite all that it is quite striking. Her sonic approach is very narrow—most of these tunes feature the same slow jazzy tempo with minimalist piano/bass/drums and soul sistah backing vox, and this can get wearying over the course of a whole album. However, she is a commanding vocal presence, even if she lacks the sheer lungpower of some of her peers, the angsty, psychosexual lyrics are supersmart, funny and frequently harrowing and she’s nothing if not her own woman. (“Ladies; “For Her”).

A.C. Newman, “The Slow Wonder”—his fizzy New Pornographers are something of a mixed bag for me, but these 11 concise, slightly off-kilter pop tunes are close to perfect. Usually (and fairly) compared to Todd Rundgren, though you can also hear the effortless melodicism of a Paul McCartney and the glammy flash of Hunky Dory-era Bowie in tunes like “Secretarial” or the sad, sweet  “Drink to Me.” 

Dark Blue, “Victory is Rated”—very Brit-sounding gothy garage postpunk from Pennsylvania band, with a ragged, crunchy guitar sound and a wondrously deep-voiced Peter Murphy soundalike at the mike. They won’t make you discard your Bauhaus and Joy Division records, but they have a real feel for the form and deserve props for keeping the postpunk flame aglow.

Lucinda Williams,  “Good Souls Better Angels”—never a cheery broad, her records since 2001’s Essence have grown progressively more somber and harder to listen to. This latest, however, is something of a reversal of course—a stripped down, surprisingly heavy bar band affair which is closer in spirit to Credence than it is to Hank Williams. A bit underwritten in spots—some of the tunes are mere recycled blues clichés—but she sounds wholly committed on tracks like “Bone of Contention” and can still rock damn hard for a 67-year old.

Lyres, “Lyres Lyres”—oft-imitated, never-surpassed garage rock framed around the plaintive wail and overdriven Farfisa of 60’s obsessive Jeff Connoly. He has a knack for finding and covering obscure gems (“I Love Her Still”), but his own songs are excellent and he’s an underrated singer who can do rude and raucous or tender and soulful with equal aplomb. “She Pays the Rent”, done both as a slow blues and a loud rave-up, is the bomb.

Kurt Vile, “Smoke Ring for My Halo”— oddly appealing freak-folk  from prolific stoner (and J. Macis soundalike), who also  contributed to the critically overpraised War on Drugs. Somewhat monochromatic in melodic approach—he tends to default to a sort of densely-strummed mid-tempo shuffle—but he’s got a rich ambient guitar sound and is an instinctive tunesmith who periodically puts down the bong long enough to pen an offhand classic like the title track or “Jesus Fever.” 

Pearl Jam, “Gigaton”—I sorta get why hipsters hate on PJ—too earnest, too commercial, too white—but even arch-nemesis Kurt Cobain acknowledged that they were nice people, and they do have a knack for the big dramatic singalong. This latest mostly eschews their grunge side in favor of a glossier, generic pop sound which betrays a curious lack of hooks and energy even on the stompers. The low-key, acoustic ballads towards the end (“Comes Then Goes;” “River Cross”), however, are awful purty.

Translator, “No time Like Now”—80s SF guitar band with a driving New Wavish sound somewhere between REM jangle and bright hooky fare like Duran Duran or the Cars. I don’t quite get the fey Brit accents, but they had two strong frontmen and a passel of sharp tunes ranging from the upbeat/anthemic (“Un-alone”) to the emotive/somber (“I Hear You Follow;” “I Love You”).

Strokes, “The New Abnormal”—these overage prepschoolers have been rewriting the same song since 2000, and the drummer and guitarist still haven’t absorbed much more than the rudiments. They are, however, nothing if not comfortable in their vacuity, and frontman Julian Casablancas (in fine falsetto here) exudes charisma. This latest is good for a sugar buzz,  with a nice loose swagger and a raw, almost punkish sound which screams out to be played really loud.

Scrawl, “Travel on, Rider”—forgotten femme trio played a smart, stripped-down sorta punk-pop reminiscent of early PJ Harvey (who also enlisted Steve Albini to produce). This is no mere riotgirl screamfest—the principal is a nuanced, highly expressive singer, bass riffs are slithery, and they have an innate sense of dynamics. Songs like “Good Under Pressure” and the oddly tender “Story Musgrave” are grabbers, but my fave is the thrashy “He Cleaned Up” (“…she took him back/he fucked up/she kicked him out”).

Cowboy Mouth, “Cowboys and Indians”— not the forgettable Louisiana roots-rockers of the same name, but rather NYC-based David Lichtenstein, who (from what little I’ve gleaned) is a former John Cale sideman and son of the pop artist Roy. With hiccupping rockabilly vocals, eerie simple synth lines and chiming guitars, this plays like a mélange of Murmur-era REM and off-kilter Devo-ish New Wave pop. Weird but original; songs like “Long Hard Ride” and “Indy Man” grab you like a stray coronavirus.

Black Pumas, s/t—70’s soul revivalists with an Al Green-soundalike at the mike. The songs hew so close to their influences as to veer towards parody, but they really know their way around the studio, with phunky rhythms and a virtuosic, psychedelicized guitar sound which gives an acid-rock vibe to the proceedings. Supposedly a shit-hot live band.

Stephen Malkmus, “Traditional Techniques”—not that Pavement wasn’t great, or influential, but their shambolic, too-cool-to-tune-my-guitar vibe could be a bit off-putting. Which makes it surprising that Malkamus’s solo outings have been so tightly constructed and professional-sounding. This latest eschews most of the guitar flash and rock-dynamics for a subdued acoustic sound somewhere between Beck and 60’s Britfolk ala Donovan.  This initially registered as melodically underwhelming, but on close listen songs like ShadowBanned and Amberjack show a surprising depth and resonance. Subtle but worthwhile.

Barbara Manning, “In New Zealand”—very talented indie-rock songwriter who, I’m absolutely convinced, would have been a major star if she looked more like, say, Carrie Underwood than Rosie O’Donnell. This set of moody, minimalist folkie tunes is collaboration with principals of some of the best Kiwi bands (Tall Dwarfs, Verlaines, Clean) and, unsurprisingly, sounds a great deal like classic Flying Nun, with insidious guitar hooks, poetic lyrics and an unforced, pastoral beauty.

Tame Impala, “The Slow Rush”—curiously popular Aussies have evolved from gutsy, Pink Floyd-inspired psychedelic guitarism  to a much more eclectic, pop-oriented sound.  With ubiquitous synths, trip-hop beats and other such studio trickery, this latest isn’t too far removed from the commercial electro-pap trotted out by the likes of MGMT or Of Montreal. Well manicured and well=performed, but I defy you to actually remember any of the songs.

Air, “Moon Safari”— I’m xenophobically contemptuous of the knob-twiddling Euro-electronic genre, which generally reminds me of the “Sprockets” parody on SNL. That said, this record is actually pretty great, with real melodies, lovely female vox and a broad pallet ranging from trip-hop to Krautrock to cheesy film scores, all impeccably produced and performed.  World-class bassline on “La Femme d’Argent;” 

T-Bone Burnett, “Trap Door”—ubiquitous producer’s later works became progressively more artsy and inaccessible, but this rootsy 1982 EP is near-perfect, with five tight, shimmery originals and a genius reimagining of “Diamonds are a Girl’s Best Friend.”  

Kevn Kinney, “MacDougall Blues”—his Drivin N Cryin weren’t fully convincing as heavy rockers, but he’s a natural at this pure folkie milieu. His adenoidal tenor is unpretty (if expressive), but he’s a strong acoustic player and tunesmith and no stupe as a lyricist—sagas like “Maddie Hope” and “Tina’s  Grocery” show surprising depth and resonance. 

Comsat Angels, “Waiting for a Miracle”— debut from atmospheric Brit postpunks, whose first three hard-to-find releases make a strong a trilogy as anyone’s.  More melodic than Joy Division and more cerebral than the Cure, the songs are uniformly superb, with spare, driving rhythms and memorable dadaistic lyrics. “Total War;” “Independence Day.”

The Johnsons, “Break Tomorrow’s Day”— hooky, smart raw-edged  guitar pop from Pennsylvania trio who dropped one disc in 1986 before vanishing from the face of the earth. There’s a classic 60’s folkrock vibe to these songs—Lovin Spoonful and Beau Brummels come to mind– though you can also hear the ebullient drive of early Beatles and the effortless harmonies of the Hollies. The punchy cover of Peter Laughner’s “Sylvia Platt” is spot-on, but originals like “Call Your Name” and “Burning Desire” are just as good.

The Wrens. “Meadowlands”— literate indie guitar pop evokes Pavement or Built to Spill, but has a confessional, impassioned edge that’s quite original. The dramatic “She Sends Kisses” and “13 Months in 6 Minutes” are exceptional.

Bram Tchiakovsky, “Strange Man, Changed Man”—amidst all the glossy New Wave and punky angst of their 80s peers, these pubrockers aspired to nothing more than a fat guitar sound and a hooky chorus. Songs like “Sarah Smiles” and the FM staple “Girl of My Dreams” may sound like they took ten minutes to compose but stick in your craw nonetheless.

The Windbreakers, “Time Machine”—THE ultimate jangle pop band, with memorable songs and two good writers in the hard-edged Tim Lee and the more lyrical Bobby Sutliff, whose Byrdsy Rickenbacker prowess is underrated. This compilation has a few duff tracks at the end, and isn’t as seamless as their studio records, but is a good intro to an essential (if commercially irrelevant) band.

Martin Courtney, “Many Moons”—solo record from principal of Feelies-inspired  folkrockers Real Estate, whose “Days” and “Atlas” were among the better records of this decade. Unsurprisingly, this sounds a lot like his old band, albeit with a more pastoral feel ala Buffalo Springfield-era Neil Young or 80s Flying Nun bands like the Clean. His lyrics are fairly inscrutable, but he’s got unique melodic gifts, with a seemingly limitless repertoire of descending chords and orbiting arpeggios. Pretty stuff.

Latin Playboys, s/t—I always respected Los Lobos more than embraced them, but this trippy offshoot of fragmentary songs and sonic experiments is oddly gripping. Alternately unsettling and calming, there are some memorable riffs buried in the mix + the whole thing sounds good on headphones.

Procol Harum, “Exotic Birds and Fruit”—post-Robin Trower, and largely bereft of orchestral pomp, this set is focused on Gary Brooker’s strangely soulful vox and percussive piano (which reminds me, oddly, of Aretha’s). “The Idol,” “Strong as Samson” and “New Lamps for Old” are as strong as anything they’ve penned.

Ron Wood, “I’ve Got My Own Album to Do”—he’s no one’s idea of a great musician, and his longevity in important bands seems to  have more to do with his being a genial guy with a good haircut. That said, this busman’s holiday has an endearing, loose swagger wholly missing from the Stones’ albums since the 70s and two unexpectedly classic songs in “I Can Feel the Fire” and “Mystifies Me” (later crushed by Son Volt).

Santana “III”—it’s been said, not inaccurately, that Carlos can only play one solo, so adding the fleet-fingered teenager prodigy Neal Schon gives this some flava. Carlos rarely sang, but his vocal on “Everything’s Coming Our Way” is suprisingly moving. Cool album cover.  I never before noticed that “No One to Depend On” had only one line of lyric.

Lucy Show, “Mania”—mostly-forgotten, hyper-tuneful 80s Britpoppers bypassed the synth-driven New Wave of their contemporaries in favor of bright, ringing guitar rock ala the Smiths or the Chameleons. Hooky and big-sounding; songs like “New Message” and “Million Things” still resonate some 30 years later.

Jessica Bailiff, s/t–eerie fusion of Cocteau Twins dreampop and distorted MBV-like slowcore. Like the similarly-inclined Low, she’s moody but not amelodic, and her understated vocals are really haunting. Quite exceptional.

Yummy Fur, “Piggy Wings”—noisy-but-tuneful Scottish punk-pop mines the same jagged, minimalist turf as Gang of Four or the Fall, but had their own brash, oddball approach to the form.   A couple of these guys went on to the distinctly less interesting Franz Ferdinand.

Gene Clark, “American Dreamer”—I saw the last show he ever played, which was memorable if only for the fact that he remained coherent after 50+ shots of bourbon. This compilation is as good as any an overview of the guy who, as much as anyone, pioneered folk-rock and country-rock. You can quibble about some of the omissions, although it does include his best Byrds song, “Set Your Free This Time” and a smattering of his coked-out, baroque pop masterpiece “No Other.” If nothing else, it demonstrates how many great Gene Clark songs there were.

Wire, “Pink Flag”— I had forgotten what a great, snarling punk rock singer Colin Newman was until I re-heard “Ex Lion Tamer.” The records they’ve churned out since 1978 are consistently better than 99% of the pap out there, but this debut remains the ultimate mofo. 

Three Johns, “Live in Chicago”—Jon Langford’s pre-Mekons project had the anarchistic furor of the Sex Pistols and the pulsing drive of Public Image Ltd., but were much smarter than the former and funnier than the latter. This live set includes both their shambolic parody (“McDonna”) and massively hooky near-pop (“Death of a European”) and is the best representation of their distinctive, if minor, genius.

The Suburbs, “Credit in Heaven”—I recall these New Wavers getting a lot of critical adulation in the early 80s, though they seem to be have been forgotten in time. Very reminiscent of (and musically at least on a par with) early Talking Heads; unlike most of the genre this record hasn’t dated at all, with sharp sardonic songs and a broad sonic palette—the really deft rhythm section keeps this sounding a bit raw. 

Freedy Johnston, “Right Between the Promises”—you’ll turn this off if you don’t connect with his quavery, eccentric tenor, which is a shame because his songcraft and sonics are impeccable. Much of this is his trademark melancholic chamber-folk, but the best tunes here hit harder than you’d expect .(“Waste Your Time” “Anyone”).

Jaimie Branch, “Fly or Die”—unusual trumpet-cello soundscapes from Chicago free jazz scenester. Exploratory but not amelodic; the principal has a thin, icy tone reminiscent of Nils Petter Molvaer, while the rhythm section give the ethereal, Eastern-sounding compositions a solid post-bop foundation. Very good late night music. The subsequent “Fly or Die II” features African rhythms and gratuitous vocals and isn’t as compelling. 

Timothy Eerie, “Ritual”— retro-psychedelia from complete unknown, who can churn out a tightly constructed tune like “She Talks to Mushrooms” and “Sold My Sunshine” without a trace of irony. Well sung, with a great fuzzed-out guitar tone and overall grrovy.

The Rutles, s/t—I generally have trouble getting past “Goose Step Mama” (“you’ve got nothing to eins zwei drei Fear!”), but “I Must Be In Love” and “Ouch” are genuinely melodic gems. I’m still aghast that the Beatles’ publisher sued for copyright infringement—I thought it was the Krauts who lacked a sense of humor.

Joe Jackson, “Big World”—I have decidedly mixed feeling about JJ—he’s a very good musician and composer, but a lousy singer and fitfully ham-fisted lyricist. This live recording of all-new material, however, is pretty compelling, with pristine sound and some of his best songs like “Right and Wrong”, “Shanghai Sky” and the riotous ugly American stomper “Jet Set”.

Roy Montgomery, “Hey Badfinger”— soundtrack to an imaginary film by renowned experimental Kiwi guitarist. While much of his extensive body of work veers towards shoegaze/noiserock, these solo pieces are surprisingly poppy and accessible, with ubiquitous hooks and a rich chiming tone. Repetitive but oddly hypnotic.

Basehead, “Play With Toys”— a concept album of sorts about old girlfriends, slacking and beer, this fuses Sly-like funk, old school hip-hop and shambolic guitar rock into something funny, poignant and tuneful as hell. Perhaps the great lost record of the 90s (and oddly unavailable on Spotify/Tidal). (“Not Over You”).

Dick Diver, “Melbourne Florida”—usually compared to the Go-Betweens, these Aussies actually hew closer to the tightly-crafted NewWavey pop of Men At Work or the Cars, with an ambitious sonic palette and a bunch of hooky tunes.

Kevin Salem, “Gimmer”–unsung ex-Freedy Johnston/Dumptruck guitarist made a couple of outstanding records in his own name, of which this is the rawest. An excellent, literate songwriter with a cool Lou Reed-like voice, this’ll appeal to fans of Springsteenish heartland rock, but has a uniquely skronky 80s New York edge–tunes like “Run Run Run” and the extended “Destructible”  sound like lost Television classics.

Lenny Breau, “Hallmark Sessions”—Canuck  jazz guitarist with impressive stylistic range, from classical to Arabic and Flamenco to country,  accompanied here by Rick Danko and Levon Helm from the Band, who keep up better than you’d imagine. Cerebral and subdued in tone, but his’ll get you through the ironing as well as anything.

Artful Dodger, “Honor Among Thieves”—overlooked Virginia band played very British-sounding melodic rock in the vein of Faces or early Who, with memorable tunes, concise guitar solos and an outstanding singer who caterwauls like Rod Stewart on the loud ones but can also get slow and soulful (“Scream;” “Remember”). Their swan song, “Rave On” is even better but hard to find and, as far as I know, never released on CD.

Bill Llloyd, “Feeding the Elephant”—ex-country star turns to super-hooky, jangly guitar pop in the manner of Marshall Crenshaw. His vox are pedestrian, but he’s an outstanding guitarist and tunesmith—“This Very Second” and “Lisa Ann” will remain permanently imbedded in your cranium

Peter Case, s/t-–ex-Plimsoul reinvents himself as a modern folkie in the vein of  Freedy Johnston or Joe Henry. I never liked Mitchell Froom’s overmanicured production style, but he and T-Bone Burnett do very well here—this is a great headphone record, with pristine layering and a crisp percussion sound. Case does well by the songwriting—smart and melodically quirky–though the cover of the Pogues “Pair of Brown Eyes” is the best thing here.

Blankenberge, “Radiogaze”—Siberian kids play swelling, Mogwai-styled postrock, with wispy female vox giving it a bit of dreampop feel. Intense and very dramatic, if not breathtakingly original. This would make a good soundtrack for a Russian war film.

Steve Miller, “Welcome to the Vault”—the LA rock critic Robert Hillburn had an interesting theory about “active” artists like the Clash or Springsteen, who require listener attention and engagement to appreciate, and “passive” artists like Boston or Foreigner, who merely present a glossy surface for you to effortlessly absorb. By this standard, Miller is as passive as they come—his records are virtually all glossy surfaces. That said, my brain needs occasional respite from all the fury out there, and this collection of outtakes and other emphemera works as well as any, proudly vapid but tuneful and well-played.

 Tom Petty, “You’re Gonna Get It”— generally dismissed as an less-refined rehash of their preternaturally accomplished debut, and it is fairly dark and garagey, with a ragged drum sound. On re-listen, however, I think it’s their best, hardest hitting set of songs, closer in spirit to their Southern Rock roots than to the glossier, poppier records that followed.  (“When the Time Comes;” “Too Much Ain’t Enough”).

The Bad Plus, “Activate Infinity”—long-running piano trio are slicker than my usual, but they do this sort of consumer-friendly postbop very proficiently, with expansive sound and the sort of telepathic interplay that reminds me of an updated Bill Evans Trio. This latest, with a new pianist, is more subdued than previous fare and works well as bedtime music.

Young Guv, “GuvI/II”— guitarist for noisy Canuck hardcore outfit Fucked Up moonlights as a melodic pop maestro (he supposedly ghostwrote for Taylor Swift). The best of this channels classic Teenage Fanclub, with jangly guitars and surprisingly deft harmonies, although he can also do an uncanny facsimile of glossy Fleetwood Mac-style AOR and even old-school R&B. Very talented guy.

Lucille Furs. “Another Land”—a JK recommendation, this Chicago band plays tightly-crafted, 60’s inspired pysch-pop in the (somewhat esoteric) manner of the Move or the Zombies. The songs aren’t quite there yet, but they have the sonics down cold with close harmonies, vintage keyboards and chiming Rickenbackers and are definitely a gang worth watching. 

Beatles, “Abbey Road” (50^th Anniversary)—this was generally regarded as Paul’s record, and his ambition and melodic sophistication here vastly surpassed John’s. That said,  it’s John’s comparatively primordial blues (“Come Together”, “Polythene Pam”) that stick. The innumerable demos and alternate versions on this reissue do demonstrate that, if nothing else, Paul could play the hell out of that bass.

Angel Olsen, “All Mirrors”—I liked her lo-fi, alt-country “Half Way Home”, but she clearly had wider ambitions, and this Spectoresque, string-laden chamber pop is closer to Dusty Springfield or Bjork than it is to Patsy Cline. Very cinematic (some of these songs could have been Bond themes), but surprisingly effective—she writes economically and has the pipes and melodic chops to bring off what could have been baroque overkill. Not rockin, but she does seem like a major artist.

DIIV, “Deceiver”—it’s not like the world needed another MBV-obsessed shoegaze band, but these guys are more songful than most, with a heavier-than-typical guitar sound and a bit of pulsing Krautrock groove.

Elvis Costello, “Get Happy”—it has been observed to me that women don’t like Elvis Costello, and I can sorta see why—he can be treacly and morosely self-pitying, and there’s usually a certain acid edge to his lyrical  gymnastics. This neo-R&B record, however, catches him in a cheerier place; he assiduously avoids the oversinging and palpable anxiety of his later works. There’s a loose, tossed-off quality to many of these tunes, and the mastering is somewhat compressed, but “Secondary Modern” and “New Amsterdam” are among his very finest.

The Real Kids, s/t—Unlike the Ramones, whose punky image always seemed like a bit of a put-on, these guys wear their working-class stupidity very naturally. This is pure, alcoholic garage rock; leader John Felice has a distinctive snarl and a deft way with the big tension-and-release, best shown on the mighty “All Kindsa Girls” and the Bo Diddley-ish “Reggae Reggae.” I was at one of their shows the night my son was born, and I gotta admit I still have regrets about leaving early.

Sun Kil Moon, “April”—I’ve seen Kozolek perform live and he came across as a boorish dick; it seems unjust that he would bestowed with such amazing musical gifts. This set is probably the best showcase for his lyricism, with delicate fingerpicked acoustic offset by harder-edged Crazy-Horse churn, all framed by plaintive vocals and tense, mesmerizing melodies. 

The Records, “Smashes, Crashes and Near Misses”—their comparative obscurity is somewhat puzzling—Birch and Wicks were world-class tunesmiths, and they’re underrated as a guitar band, with virtually every tune featuring a big, fluid solo. “Paint Her Face” and “Golden Disc” are every bit as resonant as their classic “Starry Eyes,” although the pervy (if maddeningly catchy) “Teenarama” would not be well-received in today’s social climate.

The Scruffs, “Wanna Meet the Scruffs”—a standout among the myriad of late 70s powerpoppers, with memorable songs and a charismatic lead singer. Much of this is early-Beatles stomp (“Tommy Gun”), but they’ll surprise you with their songcraft, as on the Zombies-like “She Said Yeah” and the gorgeous string-sweetened closer, “Bedtime Stories”. Cool slide part on “Revenge”.

John Coltrane. “Blue World”—being dead for 50 years hasn’t seemed to slow him down, as a font of worthwhile releases keep rising from the crypt. Consisting of re-worked versions of his old classics like “Naima,” this ‘64 set seems like something of an aberration from the Eastern/avant direction he was pursuing at the time, but his approach is more meditative than on the originals and his tone is slower and fatter while the normally subdued Jimmy Garrison’s bass is frequently front and center. Worth your time.

Todd Rundgren, “Something/Anything”—wildly self-indulgent by definition, but this one-man twofer has surprisingly few misses among its dizzyingly diverse 25 tracks. He’s a master at the lightweight blue-eyed soul ballad (“It Wouldn’t Have Made Any Difference;” “Cold Morning Light”), though the Hendrixy “Black Maria” is genuine heaviosity and the oddly evocative “Piss Aaron” and “Slut” are good dumb fun. The soaring “Couldn’t I Just Tell You” is one of the best songs of the 70s.  

Pure Prairie League, “Busting Out”—this may be the unhippest record I own, but good is good, and this country-rock staple is pretty much flawless, with expansive production and a singer who can really get into bed with these pretty songs. The overplayed standard “Amie” is here, but the best tunes are “Angel #9” and “Leave My Heart Alone”, which have a surprising amount of electric bite. Mick Ronson, oddly enough, adds the well-placed strings.

Chrissie Hynde, “Valve Bone Woe”— I hate the sanitized, Diana Krall-style “adult” pap they force you to listen to in high-end stereo stores, but this retro-jazzy detour by Ms. Pretender ain’t half-bad—there’s still some rock dirt in her voice, and she nails some oddball Nick Drake and Ray Davies covers along with the predictable standards.

Matt Keating, “Killjoy”—underrated singer songwriter slots somewhere between the wry, literate folk of Loudon Wainwright and the driving pop of early Elvis Costello. He’s a pedestrian singer, but has real knack for melody, a crunchy guitar and drum sound and a bunch of first-rate tunes, including the uptempo title track and the acerbic, funny “The L Word.” Great line: “you wanted a man who had substance/you got one with substance abuse.”

Enrico Rava/Joe Lovano, “Roma”—live set has roots in classic 60s Miles Davis Quintet, but moves subtly into modal and free jazz. Very, very well composed and played, especially by Rava, whose cool-but-powerful tone dominates. Exploratory yet accessible, this is a good entry drug to the avant garde.

Byrds, “Untitled”—the surprisingly raw live side of this twofer is actually pretty great. Bluegrass prodigy Clarence White was the best musician to ever pass through the band and McGuinn sings with a fury–check out his pissed-off take on “Rock and Roll Star.” The eclectic studio side has the shaggy-horse story “Chestnut Mare” and some worthy deep tracks like “Well Come Back Home.”

Mazzy Star, “So Tonight That I Might See”—other than the transcendent three-chord “Fade Into You” and the Arthur Lee cover, the songs don’t stick with you, but taken as a whole this is a mesmerizing, fantastic-sounding record—pristine slide, drony organ, crisp drums. Plus that haunting, ethereal voice really could tempt the devil.

Chris Whitley, “Terra Incognita”—his acclaimed debut was impeccably produced and performed roots-rock, but he was clearly looking for something more fugged up and primal, and his subsequent records got progressively more stripped down and rawer. This record is something of a cross between hallucinatory electric Hendrix and acoustic Delta blues– he’s a better player and singer than he is a writer (although “Weightless” is a gorgeous), but the intensity is there and this has a hypnotic feel that’ll stick with you.

Tool, “Fear Innoculum”—  I confess to being underwhelmed by this long-awaited comeback, mainly because they’ve almost wholly abandonded their thinking-man’s metal roots in favor of jammy prog which is closer in spirit to Rush than it is to Slayer. Forsaking the heaviness and tight structures of their earlier work, these really, really long songs devolve into a sort of atmospheric formlessness (“Chocolate Chip Trip” in particular meanders endlessly). Keenan is still an engaging singer, even if I can’t decipher what he’s singing about, and good sonics are a given for this crew, but the drummer overplays to the point of parody—he makes Keith Moon seem comatose by comparison. 

Green, “Green”—recorded on a shoestring by a ragged, garage-y Chicago trio, this 1986 set is something of a tour-de-force. They love the Kinks and the Buzzcocks but also hint at country (“For You”) and even soul (“I Don’t Want Say No”). The principal has an amazing voice which ranges from punkish howl to tender croon to shrieking falsetto, often within the same song.  The anthemic “Better Way” and “She’s Not A Little Girl Anymore” are standouts, but every one of these tunes connect, and this is well worth tracking down.

Lemonheads, “Car Button Cloth”—Robert Christgau described Evan Dando as “a good looking guy with more luck than talent and more talent than brains,” which is funny but perhaps a tad dismissive–the guy may be drug-addled but is unquestionably a natural. This curious, eclectic set veers wildly from sharp, radio-ready pop (“If I Could Talk”) to intense, brooding psychedelia (“Losing Your Mind”) to murder ballads and country, but other than the pointless, noodling closer, holds together surprisingly well. “Break Me” is a truly great song.

Dwight Twilley Band, “Sincerely”—Studio rats Twilley and Phil Seymour were influenced as much classic Sun Records as by the Beatles, and you can hear a lot of Roy Orbison and Everly Brothers in their approach. The original recording was somewhat compressed-sounding, but the remastered version on Spotify/Tidal is much better-sounding, and musically this is near-perfect with enduring songs like “You Were So Warm” and the sorta-hit “I’m on Fire”. The amazing guitar solo on the title track is played by electronic pioneer Roger Linn, who more or less invented digital sampling.

Hoodoo Gurus, “Mars Needs Guitars”—ebullient garage rock from Sydney. Gregarious frontman Dave Faulkner is a smart, funny tunesmith (like the Ramones, there’s a lot of classic Brill Building in his songs), but their real edge is guitarist Brad Shepherd, who has a fat, rockabilly-influenced tone reminiscent of Mick Jones or Johnny Thunders. “Bittersweet” is their acknowledged masterwork, but my favorites are the gothy “She” and the arch, cutting “Poison Pen” (“everyone enjoys sharing a rumor/but when it’s aimed at you it loses its humor…”).

Rolling Stones, “Beggar’s Banquet”—listening to this some 50 years after its release I’m struck by how rootsy/folksy it is, with virtually every song (including the anthemic “Street Fighting Man”) framed around Keef’s acoustic. I never liked “Sympathy for the Devil,” but the rest of these tunes have a depth and sense of humor unmatched by their later, louder opuses. 

The dBs, “Repurcussion”—like Squeeze or the Go-Betweens, the dBs played idiosyncratic guitar pop and hosted two brilliant composers, although they were edgier than the former and less melancholic than the latter. The singing (esp. Peter Holsapple’s) is artless, but the playing is impeccable and the songs are memorable, with Chris Stamey serving as a quirkier Lennon to Holsapple’s more melody-driven McCartney. Future REM/Nirvana knob-dialer Scott Litt gives this a nice sonic sheen. I play this one a helluva lot more than Pet Sounds or Sgt. Pepper.

Ballboy, “The Sash My Father Wore”—another John Peel favorite, this is essentially a showcase for one Gordon McIntyre, who offers minimally-accompanied twee pop in the same vein as Belle & Sebastian. Your reaction to this disc will rest wholly on your tolerance for his Scottish brogue and unabashed sensitively (this ain’t swaggering cock-rock). I find it oddly endearing, especially the rebuke of the “big fat bigoted areshole” and the deconstructed cover of “Born in the USA.”

Matthew Sweet, “Son of Altered Beast”—underneath the honeyed voice and pretty melodies, there’s something deeply sinister and disturbing about Sweet (“I don’t like knowing people/I don’t like people knowing about me”). This (mostly) live set, with Richard Lloyd shredding maniacally throughout, is rawer and harder than his studio albums and includes a lost classic in “Superdeformed” as well as the transcendent “Someone To Pull the Trigger.”

Credence Clearwater Revival, “Live at Woodstock”—suppressed for 50 years because they didn’t like the performance, and it is pretty sloppy, with lumbering drums and frequently out-of-tune bass. John Fogerty, however, howls and plays like a man possessed—he may only know a handful of licks, but delivers ‘em correctly. Deep album tracks like “Commotion” and “I Put A Spell on You” are standouts, while the extended “Suzie Q” channels their inner jam band.

Russian Circles, “Blood Year”— instrumental post-rock from Chicago trio somewhere between the atmospherics of Mogwai and the artsy heaviness of Tool. Scrupulously avoiding solos, the songs are tightly composed and concise, with a jazzbo’s sense of dynamics and a  really, really good drummer.

Jethro Tull, “Benefit” (Steven Wilson Remaster)—Ian Anderson’s subsequent, grandiose art-rock releases veered dangerously close to Spinal Tap, but I keep returning to this disc, with massive riff-rockers (“To Cry  You A Song;” “With You There to Help Me”) and some gorgeous folk melodies (“Sossity”), which seemed to have informed the legendary Roy Harper. I like Anderson’s acoustic strumming much more than that infernal flute, but the real weapon here is Martin Barre, who may be the great unsung English guitar hero. This 2016 remaster radically improves on the murky original, with a cleaner mix and much better instrument placement.

Yim Yames, “Tribute To”— My Morning Jacket has gotten progressively poppier and suckier, but James is unequivocally one of the great singers of his generation, and these solo acoustic renditions of George Harrison songs bring out a depth and resonance that the baby Beatle couldn’t deliver. His “Long Long Long” will get you sobbing like a baby.

Tommy Keene, “Real Underground”—like Game Theory’s Scott Miller or (spiritual godfather) Alex Chilton, Keene had one of those reedy, “alternative” voices that condemned him to cult status, but he wrote excellent, Badfinger-esque songs and was one of the best guitarist in the genre, with a simultaneous lead/rhythmic approach that reminds me of Johnny Marr or Pete Townsend (whose “Tattoo” is covered here). The first five songs on this compilation are fantastic, as are the morose “Safe in the Light” and the Fender workout “Mr. Roland.” 

Underground Lovers, “Cold Feeling”—unknown (to me) 90s Aussie band played a trippy, shoegazy blend of Sonic Youth and 4AD-style dream pop. With soothing male/female vox and reverb-heavy guitars, this is familiar sounding but very hypnotic. Definitely a subject for further study.

Kimberly Rew, “Bible of Bob”—ex-Soft Boy/future Wave was overshadowed by his more flamboyant bandmates, but he’s  a clever, spidery guitarist and ace songwriter with a knack for stripping a tune down to its basics. This obscure pubrock gem finds him backed by three different bands (the aforesaid + the dBs) and has at least two shoulda-been immortal classics in “Stomping All Over the World” and the screamalong “Hey War Pig.” 

Buzzcocks, “Singles Going Steady”— my wife made two salient observations about this record the other night: first, that under all the buzzsaw guitars there’s a lot of 50’s doo-wop and Elvis-style rockabilly in these tunes; and second, there’s almost no bass in the mix—it’s virtually all midrange. True dat, but these are stone classics nonetheless; at least during his late 70s heyday Pete Shelley might have been the great English songwriter.

Ed Kuepper, “Everybody’s Got To”— hard pop masterpiece from ex-Saints guitarist. Largely eschewing his punk past and the dark folk of his earlier solo records, this is closer in spirit to Ike and Tina or Sticky Fingers-era Stones, with blaring horns, big drums and a lovely-voiced backing vocalist. He’s a powerful rhythm player and a distinctive singer, but it’s the songs that really stand out and these are as good as any to emerge from Oceania. (“Lonely Paradise” “Too Many Clues”).

Chris Forsyth, “All Time Present”—he studied under Television guitar madman Richard Lloyd and was obviously a star pupil—most of these compositions sound like variations of “Marquee Moon,” though he also channels Krautrock, Neil Young and Sonic Youth. Mainly instrumental, though his sporadic vocals and lyrics are at least serviceable, this is technically dazzling (if derivative) guitar nirvana.

Sex Clark Five, “Strum and Drum”—Sort of a DIY, indie-rock counterpart to “Who Sell Out” from Alabama, of all places. They fuse REM jangle, Merseybeat, and T. Rex, but have their own unique take on this form, and  virtually all these one and two-minute gems feature a big hook, inventive harmonies and oddball lyrics. John Peel was a big fan.

The Verlaines, “Bird Dog”—sonically akin to, but more ambitious and sophisticated than their Flying Nun labelmates; the principal is classically-trained and uses a lot of shifting time signatures, ethereal choruses and brass and string parts. The somber, melancholic “Makes No Difference” and “Slow Sad Love Song” are the standouts, while the title track is a rousing rumination on old age and German beer, subjects with which I’m growing ever more familiar. 

Pernice Brothers, “Overcome by Happiness”—orchestrated alt-pop in the vein of (and just as good as) “Forever Changes” or “Odessey and Oracle,” albeit with a darker edge. Lead brother Joe is a melodic genius whose world-weary vox and depressive lyrics belie the ebullience of these tunes. “Crestfallen” or “Dimmest Star” are worthy of Brian Wilson or Carole King.

Rory Gallagher, “Calling Card”—he was a purist who refused to dress up his bloozerock for mass appeal; he supposedly turned down Brian Jones’s slot in the Stones because he wouldn’t be able to sing his own songs. His guitar is rightly revered, but I’ve always thought the songwriting was underrated and liked his shopworn voice. This record has more finesse than his usual, with acoustic shuffles (“Barley and Grape Rag”) and wistful ballads (“I’ll Admit You’re Gone”) as well the expected storm-und-drung (“Moonchild”).

Gary Clark Jr., “This Land”—his Hendrixy guitar is a little overflashy, but he’s an outstanding singer who can go from fierce growl to a Prince-like falsetto, and you can’t fault him for ambition. This record, though, is so eclectic as to be almost schizophrenic, with  unconvincing forays into hiphop and reggae offset by tough rockers (“Gotta Get Into Something”) and soulful slow burners like “Pearl Cadillac,” a song so sublime you wish he’d just stuck to his blues roots. 

Black Keys, “Let’s Rock”—their busy, Danger Mouse–produced megasellers didn’t grab me as much as their earlier, primal guitar-and-drums records, though they always sounded big and pounded hard. This latest is something of an enigma—oddly subdued, barely-rewritten rehashes of 70s AOR like Fleetwood Mac (“Tell Me Lies”), Foreigner (“Lo/Hi”) and Stealer’s Wheel (“Sit Around”).  They do know their way around a studio, and the damned thing soundsgood, but this rates about a “D” for effort and passes through you as soon as you hear it. I assume the album title is ironic.

Elephant9, “Psychedelic Backfire Vols I and II”—live organ-fueled improv trio from Norway melds avant-groove, heavy jazz-fusion and prog. The long compositions threaten to veer off into the ether, but never stray too far from their rhythmic bones, and the playing (esp. the drumming) is virtuosic, with a great sense of dynamics and pace. Vol II features the guitarist from Dungen and has more of a jam band vibe, while Vol I hews closer to Tony Williams or electric Miles. Both sets will leave you pining for the fjords.

Beck, “Morning Phase”—he’s always struck me as possessing more  industry savvy than musical genius, but dammit if he hasn’t  gone and written himself a near-perfect facsimile of a Nick Drake record. Similar in tone to his previous “Sea Change” (somber and contemplative), though the arrangements are more austere; there are periodic string interludes and orchestral swells, but the sonic focus is on clean fingerpicked acoustic guitar, with minimal percussion and keyboard coloration.  As on Sea Change, he adopts a somewhat over-emotive, unnatural baritone—a better singer would have crushed this material –but the mostly sad songs themselves are really good and the production is impeccable.

You Am I, “#4 Record”—curiously ignored outside their native Australia, these mod-inspired yobs get my vote as the world’s best bar band, with a Who-like sonic attack and a great frontman in Tim Rogers, who swaggers like Steve Marriott or Paul Westerberg. This record is looser and more live-sounding than their (excellent) prior releases, deftly blending dirty riff-rockers (“The Cream and the Crock”), ballads (“Heavy Heart”) and hard-edged, pretty pop (“Fifteen”).

David Kilgour, “Feather in the Engine”—ex-Clean majordomo draws a line between trad Britfolk like Davy Graham and Bert Jansch, the dreamy din of the Velvet Underground and the Byrdsy jangle of early REM or Yo La Tengo. A subtly brilliant guitarist, he has a real knack for simple, indelible melodies (“Today is Gonna Be Mine;” “Perfect Watch”) and makes this all flow seem effortlessly and naturally.

Posies, “Frosting on the Beater”—probably inspired by their hipper Seattle peers, these popsters added some grunge to their trademark blend of XTC lyricism and Hollies harmonies. Side One (starting with the pounding sing-along “Dream All Day” and ending with the extended “Burn and Shine”) is as strong a set of songs as was produced in the 90s; Side Two is moodier and quieter, though also worthy. I’ve probably listened to this record as much as any I own.

Loudon Wainwright III, “Album II”—the most enduring of the new Dylans, this 1972 set is his best set of songs, ranging from surreal (“Me and My Friend to the Cat”) to sardonic (“Nice Jewish Girls”) to sincere (“Motel Blues,” later covered by Big Star).  As skeletal a production as you’ll hear—almost entirely just his acoustic guitar and reedy voice—but he’s more tuneful than you’d think, and you respond to this melodically as well as cerebrally.

Earth, “Full Upon Her Burning Lips”— atmospheric, instrumental sorta-metal grabs you like a megadose of Robitussin.  There’s not a ton of differentiation between the songs (or, for that matter, between their numerous records)–all feature slow throbbing rhythms and sludgy sustained  guitar riffs ala Sabbath or the Melvins—but this is oddly calming stoner music  which even your mother would love.

Little Steven and the Disciples of Soul, “Men Without Women”— white working class R&B from E-Street guitarist/Sopranos consigliere. He throws a lot into the mix–bullring horns, screeching guitar solos, barrelhouse piano –but keeps it ragged, plus the songs are mostly stellar, esp. the poignant title track and the apocalyptic “Under the Gun.”   I’ve wondered if this would be better with a real singer, but his frenetic yowl suits the bar band vibe just fine. 

Edith Frost, “Calling Over Time”–I saw her play a set of Patsy Cline covers in a tiny bar and was sufficiently moved to pick up this odd hybrid of ambient and countrypolitain. She enlists postrock luminaries like Jim O’Rourke (Tortoise) as well as Microdisney/High Llamas prodigy Sean O’ Hagen to inject some dreampop feel into these proceedings, and this record has a lo-fi, electronic sheen, but she’s a country singer at heart and unlike self-consciously artsy peers like Beth Orton, there’s a very organic, natural feel to these proceedings.  Try this.

Ultra Vivid Scene, “Joy 1967-1990“—NY-born one-man band plays concise neopsychelia reminiscent of the early Church (his vox sound uncannily like Steven Kilbey’s) as well as shoegazy English bands like Ride. His drumming is rudimentary, but he has a great, reverb-heavy guitar sound and really knows how to put a song together—“Staring at the Sun” is a classic.

The Bongos, “Drums Along The Hudson”—jittery New Wavy guitar pop not too far removed from early Talking Heads or the B-52s, albeit without the neuroses of the former or the campiness of the latter. They have punkish energy but sound tight, with precise propulsive percussion in the manner of the Feelies, and they have a knack for a hooky guitar riff and  memorable, oblique lyrics (“flash lights when ready, that’s what she said to me/some assembly required, that’s what I said to her”).  

Absolute Grey, “Greenhouse”— jangly Velvet Underground-inspired acid/folkrock with a great female singer and some inspired tunes (“More Walnuts”; “Remorse”). Rawer and more spontaneous than contemporaries like REM or Thin White Rope, their lack of studio polish is endearing and much of this’ll stick with you long after you’ve heard it.

Bob Mould “Workbook 25”—solo debut from Husker Du principal is much closer to the electric folk of Richard Thompson or John Martyn than it is to the grungy barrage of his former band. He’s still a somber guy, and he doesn’t wholly abandon the blistering distorted guitar solos, but he deploys a lot of cello and 12-string acoustic to give this a much cleaner, almost-orkpop quality; songs like the instrumental opener “Sunspots” and “Dreaming I Am” are outright pretty. Meticulously played and produced and very powerful stuff. The bonus tracks on this reissue include a searing cover of Thompson’s  “Shoot Out the Lights.” 

Skip Spence, “Oar”—ex-Jefferson Airplane drummer/Moby Grape founder recorded this visionary, one-man tour de force in a manic burst following his release from Bellevue. Much of this is minimalist folk blues (“Weighted Down;” Cripple Creek”), though he also touches on gospel,  psychedelia and even music hall (“Lawrence of Euphoria” would do Gilbert & Sullivan proud). Out there but not really unhinged—like Syd Barrett’s solo work there’s real melodic heft to the songs and the lyrics are fraught with strange imagery and clever double entendres.

V/A—Where the Pyramid Meets the Eye—Known for primal garage rockers (“You’re Gonna Miss Me”), the recently-departed Erickson had surprising range as a writer and could pen a tender love song as well as acid-fried paeans to zombies and two headed dogs. His own records are uneven, but this tribute project is a fitting obituary. The bigger names (ZZ Top, REM) do fine, but the standout tracks here are from John Wesley Harding and the generally-forgettable Poi Dog Pondering, who nail the sublime, oddly beautiful “I Had to Tell You.”

Cheap Trick, s/t—they’d strike it big with their later, studio-shiny product, but this heavier, underrecognized debut is one of the best-ever hard rock records. Rick Nielsen’s tunes are sharp and  subversive (“He’s A Whore,” “Elo Kiddies”), while Robin Zander may have the strongest lungs in the genre—check out his microphone shredding take on “Speak Now”.

Nirvana, “Live at Reading”—I’ve always had reservations about the sonic approach to the (overpolished) Nevermind and (artificially grungy) In Utero, which leaves this unfiltered barrage as the truest representation of their genius. “Been A Son” rules.

Aimee Mann, “I’m With Stupid”— she’d prbably be miserable on a camping trip, but nobody writes a better kiss-off song and she scores here with surprisingly tough-minded, Oasis-like rockers (“Long Shot,” “Sugarcoated”) and wistful, cerebral torch songs (“Ray,” “Par for the Course”), all sung in her bell-clear dulcet voice. Producer/cohort Jon Brion does well with the arrangements, wisely stripping away the gratuitous New Wave trappings that murked up her earlier works and leaving in enough raw edges and guitar solos to appease more jaded listeners.

Funkadelic, “Maggot Brain”— I was familiar only with the mindblowing, psychedelic ten-minute title track, but the shorter funk-meets-thrash numbers that follow seem to have influenced not just Prince and Rick James but the whole SoCal skatepunk ethos, while the closer, “Wars of Armageddon” is genuinely trippier than anything Zappa could conceive. That album cover still gives me nightmares, however.

The Hotrats, “Turn Ons”—Bowie’s “Pin-Ups” excepted, most such all-covers project are a wank, but this loud, reverent set from neo-classicists Supergrass is really well done, with creative takes on classic songs by Squeeze, Lou Reed and (esp.) the Beastie Boys. 

The Ponys, “Laced With Romance”— exuberant postpunk from Chicago grabs you from the get-go with overdriven riffs and unrelenting grooviness. They borrow heavily from “Nuggets” era garage rockers as well as from Echo and Television—the principal intones like an Anglicized Tom Verlaine—but somehow have their own primal sound; songs like “I’ll Make You a Star” and “Let’s Kill Ourselves” have a way for insinuating themselves into your cranium. 

Boris “Rainbow”— hypnotic mix of metal, ambient and Melvins-style stoner rock from Japanese power trio, here joined by the face-melting pysch guitarist Michio Kurihara (whose main band, Ghost, is also a must-hear). Pulverizing and/or droning in spots, this is not your typical Satan-worshipping noisefest—the songs are melodic, even gentle at times, with soothing (if incomprehensible) vocals and a great sense of loud/quiet dynamics. Really exceptional.

Preoccupations, “New Material”—a Calgary band who (like the similarly derivative Interpol) does a very credible take on 80s-style gloom merchants like Joy Division, Echo and the Cure. Lyrics are unfailingly dark—suicide, anxiety, doubt—but the tunes are sprightly, the singer emotes convincingly and the band plays with a nice propulsive swing. Inessential but worthwhile.

Vibrators, “Pure Mania”—fat-free Brit punk owes as much to Eddie Cochran as it does to the Clash. Refreshingly unconcerned with politics or alienation—they snarl mostly about women—virtually all these two minute gems feature a tightly wound verse, a cathartic chorus and a frenzied guitar break. This’ll get your heart pumping as well as anything.    

Bark Psychosis, “Hex”— spacy atmospheric postrock in the vein of Talk Talk, though you can also hear swatches of Eno, ECM-style jazz, dub and prog. Built around reverb-heavy guitar, pulsing rhythms and unsettling, whispery vocals, this is an exceptionally lush sounding work which in its own more subdued way is a much a sonic landmark as “Dark Side of the Moon” or “OK Computer.” Very highly recommended.

Chris Bell, “I Am The Cosmos”— co-founder of powerpop deities Big Star, his lyricism and tormented vocals remind me of no one so much as John Lennon. He could rock out convincingly (“I Don’t Know;” “Got Kinda Lost”), but his real forte was intense spiritual/gospelly numbers (“There Was A Light”) and melancholy love songs of extreme delicacy and beauty (“Speed of Sound”). Sound quality is ragged (this was cobbled together posthumously from demos and singles), but this is fantastic stuff nonetheless. The dreampop supergroup This Mortal Coil covered the title track superbly.

Clinic, “Wheeltappers and Shunters”—eccentric Brits use jittery rhythms, vintage keyboards/drum machines and melodica (!) to create an addictive sort of electropop. They’ve clearly listened to the angular postpunk of Gang of Four and Wire as well as to Radiohead—the singer purrs like a sinister Thom Yorke—but they have a very distinctive take on the form. This new set of songs isn’t as memorable as their 2002 masterwork, Walking with Thee, but this still sounds great on headphones.

Smoking Popes, “Destination Failure”—Green Day-style guitar pop with a Sinatra-loving crooner. Better than you’d think, with some great ravers like “I Know You Love Me” and “Before I’m Gone;” you could actually envision Tony Bennett tackling “Star Struck One” or “Megan”. 

Nils Peter Molvaer, “Khmer”—Swedish trumpeter plays eerie electronic jazz which falls somewhere between bop and industrial. Eschewing traditional accompaniment, he plays his (frequently muted) horn over ambient electronic washes, trip-hoppy beats and squalling, occasionally dissonant guitars. Very accessible—the compositions have real structure and his icy tone is crystal clear. His later records drifted towards New Age/Enya territory and kinda suck, but this one is optimal late night listening. 

Microdisney, “Clock Comes Down the Stairs”–aptly branded “iron fist in velvet glove,” these Irishmen paired sophisticated orchestrations with hyper-literate, acerbic lyrics and an outstanding deep-voiced singer. Sonically akin to polished studio pop like Prefab Sprout or Blue Nile, but this has an edgier spirit–like Morrissey or (audioreviews faves) Go-Betweens, there’s an angsty, sardonic feel to these songs. Not for rockers, but a classic of its type; “Begging Bowl” is one of the greatest songs of the 80s. 

Al Green, “Belle Album”–his last secular album, and you can hear him moving from away from the carnal to the spiritual (“it’s you that I want/but it’s Him that I need”). Darker and more stripped-down and guitar-focused than his prior fare, without obvious hits, this has a hypnotic flow capped off by the gospelly “Chariots of Fire” and the slow-burning, transcendant “Dream.” He sings pretty good, too. 

Crazy Horse, s/t—as Americana I rank this ragged barroom fare on a par with “Music from Big Pink” or Little Feat’s debut. OD victim Danny Whitten really was a formidable talent, and his ballads “Look at all the Things” and “I Don’t Want to Talk About It” will literarily break your heart. Neil Young stand-in Nils Lofgren contributes his best song, “Beggar’s Day,” while Ry Cooder is lethal on slide throughout.

Rain Parade, “Emergency Third Rail Power Trip”—the best of the late lamented Paisley Underground scene, this borrows heavily from 60’s folkrock and psychedelia (think “Eight Miles High” or “Hurdy Gurdy Man”), sometimes with the trippy feel of early Pink Floyd. Melodic and well-recorded, with earnest, uncolored singing, a great clean twin guitar sound and some genuinely beautiful tunes (“Kaleidoscope,” “Carolyn’s Song”).

Vampire Weekend, “Father of the Bride”—I understand this is college music, but I can’t for the life of me grasp why college kids would listen to this sanitized, sexless, saccharine sort of pseudo-World music. Well produced and performed, which, in context, is not a compliment.

Blind Faith, S/T—there’s a bit of a tossed-off quality to this prototypical supergroup project–the lyrics are comically underwritten and the extended “Do What You Like” drifts into aimlessness. That said, I’m surprised at how enjoyable this is–Winwood has never sung better and the songs are there, including the certifiable classic “Can’t Find My Way Home” and “Presence of the Lord,” which may be Clapton’s best non-Dominos composition. I’ve never worshipped Clapton’s playing, which always struck me as technically flawless but rigid and soulless, but he sounds nice and loose here. The scratchy violin solo on “Sea of Joy” is epic.

Richard Buckner,  “Our Blood”–Buckner has evolved from bittersweet altcountry  (ala Son Volt or Lucinda Williams) to an insular, original sort of electrofolk, which fuses his warm, grainy baritone (think an Americanized Joe Cocker) to  simple guitar figures, vintage keyboards and poetic, emotionally raw lyrics about loss and longing. His sonic palette is somewhat narrow–he favors elegaic, downcast melodies –but he’s really mastered this sound, and  this very well-recorded set is as good an introduction as any. 

Liquor Giants, “Every Other Day at a Time”–unfussy 60’s-inspired guitar pop from ex-Gun Club guitarist Ward Dotson, whose harder-edged prior band, the Pontiac Brothers, is also worth checking out. A genuinely great songwriter with an innate knack for clever lyrical and melodic hooks, he effortlessly invokes the Beach Boys, the Byrds and the Move (whose “Fire Escape” is covered here), though he throws in enough skewed Buzzcocks-like guitar and ragged harmonies to keep this from mere rehash or parody. I would kill to knock off a song as good as “Raining Butterflies” or “I Know I’m Wrong.”

Cat Power, “Moon Pix”—I’ve vacillated between thinking she’s a dreary self-absorbed mess or a gifted torch singer before settling, at least on this set, for the latter. Austerely arranged and deliberately paced, though less somber than her usual, she enlists Aussie jazzbos Dirty Three to give this some kick in spots. Much of this has the earthy fervor of an old Delta blues record, and her voice does stick with you.

Prince, “Plectorumelectrum”—he didn’t exactly lose his muse, but most of his post-1990 output was so eclectic/unfiltered as to be almost unlistenable—he’s one guy who definitely needed an editor. This oddball power-trio set, though, is surprisingly coherent, mainly because he stops screwing around and just cranks up his guitar. Leaving most of the vox to a couple of ladies, he mixes slow, Ohio Players-style R&B with heavy almost-metal which borrows as much from Black Sabbath as from Eddie Hazel or Hendrix. Jammin.

Duster, “Capsule Losing Contact”—three disc collection from obscure 90s depressives whose broody, atomospheric output seems to have garnered a lot of recent critical interest. Most of these songs feature glacial tempos, distorted guitars, subdued synths and offhand vocals—tuneful slowcore bands like Low are an obvious influence, though I also hear a lot of emo and Velvet-influenced dreampoppers like Galaxie 500 and Mazzy Star. Very, very pretty stuff, if somewhat lugubrious and monochromatic, this is definitely not suitable for your Zumba class, though it works very well for winding down with a couple of gin-and Valiums.

Anteloper, “Kudu”—psychedelicized, improvisational update of “Bitches Brew” era jazz-funk, featuring a wild, arrhtymic drummer and a fantastic lady trumpeter whose cool but powerful blowing approaches Miles. Exploratory and unpredictable, these tunes nonetheless are surprisingly cohesive, with powerful grooves, ambient electronic washes and real melodies peeking out amidst the sudden dynamic shifts and free-form explorations. A real find.

Fleetwood Mac, “Kiln House”—recorded after Peter Green’s departure and pre-chick singers, this album marks their transistion from blues band to their eventual AOR commercial zenith. Deftly mixing Jeremy Spencer’s sleazy rockabilly (“This is The Rock”, “Hi-ho Silver”) with the melodic, understated genius of Danny Kirwan (“Jewel Eyed Judy”, “Tell Me”), this is song-for-song the best album in their catalog, alternately funny, tender and heavy.

Fig Dish, “That’s What Love Songs Often Do”– maddeningly catchy, Replacements-like rawk from Chicago quartet that got swept up (and subsequently ignored) in the wake of Smashing Pumpkins. Unruly and anarchistic live, their two major-label records actually show a tight, crafty studio band, with massive hooks, subtle harmonies and a giant, crunchy guitar sound ala Meat Puppets or “Monster” era REM. More tuneful than most grunge, and louder than most power pop, though they can dial it down a bit when they choose (“Lemonader,” “Quiet Storm King”); like Nirvana they have a particularly good feel for loud-soft dynamics.  The furious waltz-tempo opener, “Bury Me” is a real stomper, while the edgy “Seeds,” with its terse haiku chorus,  is a shoulda-been classic. I sorta understand why bands like this don’t make it—they lack anything like a marketable image—but if you care more about the adrenaline than the optics, this delivers.Nik Bartsch, “Awase”— hypnotic, minimalist trance from Swiss quartet. Seemingly informed by neo-classical composers like Phillip Glass or LaMonte Young, this also has elements of fusion and funk, albeit without all the wankery. The long songs generally follow a pattern–the rhythm section lays down a propulsive almost techno beat, leader Bartsch plays repetitive, fragmentary piano figures and the horn player adds fluid, melodic lines which gradually intensify and/or approach disorder. Much more accessible than you’d think and a great late-night listen, this is avant-garde for people who thought they don’t like avant-garde

Lorelle Meets the Obsolete, “De Facto”— off-kilter neopsychdelia/triphop from Mexico City. Most of these tunes begin with a druggy, hypnotic feel, with soothing (Spanish language) female vox crooning over pulsing, repetitive basslines and gentle synth washes; however they inevitably add fuzzed-out, noisy guitar, driving percussion and distortion to the mix to give an unsettling quality to the proceedings. Trance-y minimalists like Spacemen 3 (whose Sonic Boom had some interaction with the band) are an obvious influence, though I also hear elements of Krauts like Tangerine Dream and Neu as well as avant guitarists like Glenn Branca and Sonic Youth. Addictive stuff.

Free, “Fire and Water”–granted, Bad Company was kinda stupid, but there’s no denying that Paul Rogers was a great singer–soulful without sounding cloying–and every one of these tunes connect some 50 years later. I like how spartan the arrangements are (no overdubs, no harmonies); impeccably restrained guitarist Paul Kosoff in particular must set a record for playing the fewest notes per full-length album. The real killer here, though, is bassist Andy Fraser who simultaneously plays trebly rhythm and lead and gives this a swing which peers like Cream and Humble Pie never grasped. Their big hits “All Right Now” and “Fire or Water” (later crushedby Wilson Pickett) are here, but my favorites are the stately, somber “Don’t Say You Love Me” and “Heavy Load.” 

Vijay Iyer Sextet “Far From Over”—a cerebral, technically brilliant pianist whose wild genre-hopping experimentation sometimes ventures into inaccessibility, Iyer plays it comparatively straight here, with a horncentric, hard-bop set that brings to mind “Ascension”-era Coltrane or funkier, later-day Miles Davis. Much of this is uptempo and electric (he plays a lot of Fender Rhodes), with swelling crescendos and  big dynamic shifts, tho he varies the mood nicely with quiet piano meditations (“For Amiri Baraka,”) and more modal /Eastern passages. Impressive.

Afghan Whigs. “Gentlemen”—their noisier early records and overpolished faux-R&B later stuff never fully connected with me, but this is one of the best, most harrowing rock records of the 90s. A concept album of sorts—singer/auteur Greg Dulli self-flagellates about his moral failings and dysfunctional relationships while the super locked-in band howls and purrs behind him. Alternately loud/funky (“Debonair”) or slow and somber (“Be Sweet”), these are great, smart songs, esp. the cathartic, piano-driven “What Jail is Like,” which more-or-less sums up his view of romance. The orchestral coda at the end seems tacked-on and incongruous at first, but soon becomes a needed respite from all that psychic fury. Great production, with notable stereo separation and a huge, crisp drum sound. 

Jason Isbell, “The Nashville Sound”—Isbell does a certain kind of sad, pretty tune as well as anyone and this incredibly depressing mediation on the inevitability of death is his saddest and prettiest. (“If we were vampires and death was a joke/We’d stand out on and the sidewalk and smoke/And laugh at all the lovers and their plans/And then I wouldn’t need to hold your hand”). Goddamn if this one doesn’t make me feel old.

DM3, “Hourglass”–pubrockers played an exuberant, garagey  pop not too far removed from Nick Lowe or (fellow Ozzies) Hoodoo Gurus, with hypercatchy tunes and a big ringing guitar sound.  This 21 song best-of has their genre classics like “One Time Two Times” and a great cover of Creation’s “Making Time.” “Take It All” is as purty an old-fashioned power ballad as you’ll hear.

Eyelids, “OR”—ex-Decemberists/Guided by Voices sidemen don’t necessarily do anything different than the legions of other Big-Star worshipping powerpoppers (Velvet Crush, Matthew Sweet, etc.), but like the similarly-bent Posies have a real feel for the form, with a bevy of hooky, melancholic tunes and particularly noteworthy singing and guitar playing (“Slow It Goes”). Unfashionable, uncomplicated and all the better for it. 

Adam Franklin, “All Happening Now”—re-recorded, dialed-down versions of songs from his former bands, the overdriven shoegazers Swervedriver and the spacier, ambient Toshack Highway. Shorn of most of the whammy bars, feedback and overdriven rhythms, this sounds closer to Britpop like Oasis or Suede, either of whom would be thrilled to have so deep a catalog. Franklin’s a very good guitarist and expressive enough of a non-singer to deliver these taut melodic tunes; one wonders why he wasn’t anointed a major artist. Also worthwhile: Swervedriver’s 2019 fuzzed-out reunion disc, “Future Ruins,” which sounds like they haven’t lost a step since the early 90s.

Arab Strap, “The Red Thread”—intense, tough-to-categorize sort of postrock/slowcore features one Aidan Moffat sing-speaking twisted tales of  jealous lovers and perfidious women in a heavy Scottish brogue over rich, flowing guitar-and-drum machine washes, sometimes enlivened with piano and strings.  Perhaps best analogized to a fugged-up Tindersticks or the National, you respond to this melodically even if you can’t speak Scottish—this is intense, often hilarious and definitely original.  

The Bevis Frond, “We’re Your Friends, Man”—DIY psychedelic guitar hero Nick Salomon has been cranking out records of remarkable consistency since 1987 and is the rare rocker who actually improves with age. This latest (his “20-something swinging disc”) is as well-written as anything you’ll hear this year, with nary a duff track among its 20 tunes. Veering capably from tightly-constructed stompers (“Enjoy”; “Old Wives Tales”) to pretty Britfolk ballads (“We’re Your Friends, “Mad Love”) to his typical acid-jammy workouts (“You’re on Your Own”), he variously invokes Richard Thompson, Byrds and Crazy Horse without sounding particularly derivative. Granted, his homely-but-appealing voice (never a particularly supple instrument) sounds noticeably strained, but riffs and lyrics are sharp, his band is tight and he can still shred like a mofo. My pick for album of the year, which shows where I’m coming from.

Pete Townsend/Ronnie Lane, “Rough Mix”—this mostly-low key folksy 1977 set with ex-Small Face Lane tones down the psychodrama and is one of the more listenable records in Townsend’s canon, perhaps because (except for the over-arranged “Street in the City”) it doesn’t aim to make a Grand Statement. Townsend’s rough-and-ready pubrocker “My Baby Gives It Away” and the poignant “Keep Me Turning” (which for some reason always brings a tear to my eye) are among his best songs, but the real gems are Lane’s subtle, acoustic “Annie” and “Nowhere to Run,” which have timeless, classic feel. 

Watter, “History of the Future”–brooding, atmospheric landscapes from Louisville, of all places The shortish tunes are not mere ambient wankery, but have real structure and textural variety, with spacy electronic and pastoral folky parts melding with progrock dynamics and even classical passages; despite the disparate elements the record is quite coherent overall. Experimental and instro bands like Trans Am, Godspeed You Black Emperor or Caspian are fair reference points, but this shows more sonic range and ambition. Great headphone music.

The Stroppies, “Whoosh” –Ozzie primitivists uncannily recreate classic 80s Flying Nun (NZ) bands like the Bats, Tall Dwarfs and the Chills. Deploying boy/girl harmonies, rudimentary Casio organ and jagged loudish guitar lines, these guys have a knack for creating rhythmically insistent, stripped-down tunes which are both shambolic and surprisingly hooky (“Pen Name,” “Entropy”). Pastoral yet punchy, with an innate sense of dynamics, this record will have appeal to admirers of insular indy rockers like Feelies or Pavement and really hearkens back to a better era where good songs and angst-free attitude trumped studio polish. Similar and also recommended, The Stevens, “Good”.

Jenny Lewis, “On the Line”— a charismatic critic’s pet and former child actor who (like the similarly-situated Neko Case and Kelly Musgraves) I’ve never fully embraced, Ms. Lewis enlists a bunch of studio pros (Beck, Ringo, Benmont Tench) to create a big-sounding, glossy countrypolitain production which is unquestionably accomplished but ultimately leaves me unmoved. Dealing largely with loss, death and decadence, the songs are lyrically ambitious although the somewhat monochromatic melodies drag (like Fiona Apple, she tends to default to the same slow, percussive piano tempo). She has a crystal clear, dramatic voice, but sounds curiously detached and soulless here, like she’s playing a role, rather than genuinely inhabiting the downtrodden personas she’s singing about. Mostly, though, there’s an offputting hyper-showy quality to this thing—everything from the overbusy mix to her overarticulated vocals to the boob shot on the album cover screams “look at me.” Pass.

Michael Head and the Strands, “The Magical World of the Strands”—although vaguely aware of Head’s prior bands, Pale Fountains and Shack, this 1998 folkrock masterwork wholly escaped my purview until now. Strongly reminiscent of Fairport Convention or a ballsier Nick Drake, these songs are instantly memorable, with gorgeous melancholic melodies and hallucinatory, introspective lyrics. Like Drake (or Love’s “Forever Changes”), he sweetens some of his arrangements with strings and flute and there’s a subtle chamber-pop feel to some of these tunes, although there’s little that’s twee about it—the band plays with rock dynamics, the drumming is propulsive and the electric/acoustic guitar interplay is sinewy and sometimes freak-folky and exploratory. Head is an excellent, understated singer whose warm tremulous tenor reminds me of Gene Clark or Pete Ham, and there’s a natural organic feel to these proceedings. Optimal late-night listening and a real find. 

Hookworms, Live Vol. III—much rawer than their synth-heavy studio work, this set fuses the Stooges, “Sister Ray”-era Velvets and droning Krautrock into a punkish-but-tuneful organ-fueled clamor which hits you like a bottle of cough syrup.   Heavy but hooky, with a sort of psychedelic feel, the singer howls cathartically over thumping, almost-danceable drums and thick, driving guitar lines; there’s an undeniable emotional power to these tunes even if you have no idea what they’re caterwauling about. More accessible than you might think, this would appeal to fans of early Pink Floyd as well as postpunk bands like Public Image Ltd. Good workout music.

The post Loomis’ Music Picks appeared first on Music For The Masses.

All Our Earphone-related Articles: here

ALL OUR REVIEWS (headphones, earphones, dacs/amps, daps, bluetooth, clean power & USB, microphones, cables/adapters, eartips, earpads, noise insulation): here

Models labelled with “*” are on our Wall of Excellence.

April additions: TRN BAX PRO ,Creative Aurvana Ace 2, CCA Rhapsody.

March additions: TRN Conch, Simgot EA1000.

February additions: Truthear X Crinacle Zero Red, Oladance OWS Sports, Simgot EA500, Sennheiser IE 600.

Reviews in Alphabetical Order:

1. 7Hz Timeless (1) (Alberto Pittaluga)
2. 7Hz Timeless (2) (Durwood)
3. 7Hz Timeless (3) (Loomis Johnson)
4. Acefast T8 (Kazi Mahbub Mutakabbir)
5. Acoustic Effect TRY-01 (Baskingshark)
6. AFUL Performer 5 (Jürgen Kraus)
7. Akoustyx R-220 (Jürgen Kraus)
8. Akoustyx S6 (1) (Jürgen Kraus)
9. Akoustyx S6 (2) (Alberto Pittaluga)
10. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
11. Anew X-One (Jürgen Kraus)
12. Anker Soundcore Liberty Pro 2 (Loomis Johnson)
13. Astrotec AM850 MK2 (Jürgen Kraus)
14. Astrotec Vesna (Jürgen Kraus)
15. Audbos/Tenzh P4 Pro (Loomis Johnson)
16. Audiosense DT200 (1) (Baskingshark)
17. Audiosense DT200 (2) (KopiOkaya)
18. Aune Jasper (1) (Loomis Johnson)
19. Aune Jasper (2) (Jürgen Kraus)
20. AXS Audio Professional Wireless Earbuds (Loomis Johnson)
21. BCD X10 (Loomis Johnson)
22. Beyerdynamic Soul Byrd (Jürgen Kraus)
23. BGVP DM9 (Durwood)
24. Beats Powerbeats Pro TWS (Loomis Johnson)
25. Blon A8 Prometheus (1) (Loomis Johnson)
26. Blon A8 Prometheus (2) (Durwood)
27. Blon Bl-01 (1) (Baskingshark)
28. Blon BL-01 (2) (Alberto Pittaluga)
29. Blon BL-03* (1) (Jürgen Kraus)
30. Blon BL-03* (2) (Loomis Johnson)
31. Blon BL-05 (1) (Baskingshark)
32. BLON BL-05 (2) (Loomis Johnson)
33. Blon BL-05s (1) (Jürgen Kraus)
34. Blon BL-05s (2) (Kazi Mahbub Mutakabbir)
35. Blon BL-05s (3) (Baskingshark)
36. Blon BL-Max (Kazi Muhbab Mutakabbir)
37. Blon Mini (Baskingshark)
38. Brainwavz Delta (Jürgen Kraus)
39. Brainwavz Koel (Jürgen Kraus, Biodegraded)
40. BQEYZ Autumn (1) (Jürgen Kraus)
41. BQEYZ Autumn (2) (Kazi Muhbab Mutakabbir)
42. BQEYZ KC2 (Jürgen Kraus)
43. BQEYZ Spring 1 (1) (Durwood)
44. BQEYZ Spring 1 (2) (Loomis Johnson)
45. BQEYZ Spring 1 (3) (Jürgen Kraus)
46. BQEYZ Spring 2 (1) (Durwood)
47. BQEYZ Spring 2 (2) (Loomis Johnson)
48. BQEYZ Summer (1) (Jürgen Kraus)
49. BQEYZ Summer (2) (Alberto Pittaluga)
50. BQEYZ Topaz (Kazi Muhbab Mutakabbir)
51. Cambridge Audio Melomania 1 (Loomis Johnson)
52. Campfire Audio Ara (Alberto Pittaluga)
53. Cambridge Audio SE1 (Loomis Johnson)
54. Campfire Audio Andromeda 2020 (Alberto Pittaluga)
55. Campfire Audio Honeydew (Kazi Muhbab Mutakabbir)
56. Campfire Audio Satsuma (Kazi Muhbab Mutakabbir)
57. Cat Ear Mia (1) (Loomis Johnson)
58. Cat Ear Mia (2) (Durwood)
59. Cat Ear Mia (3) (Kazi Mahbub Mutakabbir)
60. Cayin Fantasy (Jürgen Kraus)
61. CCA C10 (Slater)
62. CCA C10 (Loomis Johnson)
63. CCA C10 Pro (1) (Durwood)
64. CCA C10 Pro (2) (Baskinghark)
65. CCA CA16 (1) (Durwood)
66. CCA CA16 (2) (Loomis Johnson)
67. CCA CKX (Durwood)
68. CCA CRA+ (Durwood)
69. CCA CX4 Wireless (Loomis Johnson)
70. CCA Duo (1) (Jürgen Kraus)
71. CCA Duo (2) (Durwood)
72. CCA Lyra (1) (Durwood)
73. CCA Lyra (2) (Loomis Johnson)
74. CCA Rhapsody (Jürgen Kraus)
75. CCZ Plume (Baskingshark)
76. Celest Pandamon (Jürgen Kraus)
77. Cozoy Hera C103 (Jürgen Kraus)
78. Creative Aurvana Ace 2 (Durwood)
79. CVJ CS8 (Baskingshark)
80. ddHiFi Janus1 (E2020A) (Jürgen Kraus)
81. ddHiFi Janus2 (E2020B) (Jürgen Kraus)
82. ddHiFi Janus3 (E2023) Jürgen Kraus
83. Donner Dobuds One (Kazi Mahbub Mutakabbir)
84. Drop Grell TWS1X (Darin Hawbaker)
85. Drop Grell TWS1X (2) Loomis Johnson
86. Drop + JVC HA-FDX1* (1) (Jürgen Kraus)
87. Drop + JVC HA FDX1* (2) (Loomis Johnson)
88. Dunu DM-380 (Jürgen Kraus)
89. Dunu DM-480 (Baskingshark)
90. Dunu Falcon Pro (Alberto Pittaluga)
91. Dunu Kima (Kazi Muhbab Mutakabbir)
92. Dunu Luna (1) (Kazi Mahbub Mutakabbir)
93. Dunu Luna (2) (Baskinghark)
94. Dunu Studio SA6* (Kazi Mahbub Mutakabbir)
95. Dunu Talos (Jürgen Kraus)
96. Dunu Vulkan (Jürgen Kraus)
97. Dunu Zen* (1) (Kazi Mahbub Mutakabbir)
98. Dunu Zen* (2) (Jürgen Kraus)
99. DZAT DR-25 (Jürgen Kraus)
100. Earstudio HE100 (Jürgen Kraus)
101. Earsonics AERØ (Jürgen Kraus)
102. Earsonics ONYX (Kazi Mahbub Mutakabbir)
103. Einsear T2 (Loomis Johnson)
104. Elevoc Clear (Loomis Johnson)
105. Etymotic E2XR (Loomis Johnson)
106. EZAudio D4 (Jürgen Kraus)
107. FAAEAL Datura Pro (Baskingshark)
108. FIIL CC2 (Kazi Mahbub Mutakabbir)
109. FIIL T1XS TWS (Loomis Johnson)
110. FiiO FA1 (Loomis Johnson)
111. FiiO FD1 (Jürgen Kraus)
112. FiiO FH1s (Jürgen Kraus)
113. Fiitii HiFi Air 2 (Durwood)
114. Fiitii HifiDots (Durwood)
115. Final Audio A3000* (Alberto Pittaluga)
116. Final Audio A5000 (Alberto Pittaluga)
117. Final Audio B3 (Alberto Pittaluga)
118. Final Audio E3000* (Baskingshark)
119. Final Audio E-Series Roundup (Kazi Mahbub Mutakabbir)
120. Final Audio F7200 (Alberto Pittaluga)
121. Final Audio ZE3000 (English) (Jürgen Kraus)
122. Final Audio ZE3000 (Japanese) (Jürgen Kraus)
123. Geek Wold GK10 (1) (Baskingshark)
124. Geek Wold GK10 (2) (Loomis Johnson)
125. Gravastar Sirius Pro TWS (Alberto Pittaluga)
126. Hidizs MD4 (Durwood)
127. Hidizs MM2 (1) (Jürgen Kraus)
128. Hidizs MM2 (2) (Kazi Mahbub Mutakabbir)
129. Hidizs MP145 (1) (Durwood)
130. Hidizs MP145 (2) (Loomis Johnson)
131. Hidizs MS1 Rainbow (1) (Durwood)
132. Hidizs MS1 Rainbow (2) (Loomis Johnson)
133. Hidizs MS3 (1) (Durwood)
134. Hidizs MS3 (2) (Loomis Johnson)
135. Hidizs MS5 (1) (Durwood)
136. Hidizs MS5 (2) (Alberto Pittaluga)
137. Hidizs MS5 (3) (Kazi Mahbub Mutakabbir)
138. Hifi Walker A1 (Jürgen Kraus, Biodegraded)
139. Hill Audio Altair • RA (Jürgen Kraus)
140. Hill Audio S8 (Jürgen Kraus)
141. Hisenior B5 (Loomis Johnson)
142. Hisenior Okavango (Kazi Mahbub Mutakabbir)
143. HZ Sound Heart Mirror (1) (Baskingshark)
144. HZ Sound Heart Mirror (2) (KopiOkaya)
145. iBasso IT00 (Baskingshark)
146. iBasso IT00/Tin Hifi T2 Plus/Moondrop Starfield comparison (Durwood)
147. iBasso IT04 (Alberto Pittaluga)
148. iBasso IT07 (Alberto Pittaluga)
149. Ikko OH1 (Jürgen Kraus)
150. Ikko OH1S (1) (Alberto Pittaluga)
151. Ikko OH1S (2) (Jürgen Kraus)
152. IKKO OH5 Asgard (Alberto Pittaluga)
153. Ikko OH10* (1) (Alberto Pittaluga)
154. Ikko OH10* (2) Jürgen Kraus
155. IKKO OH2 (Jürgen Kraus)
156. Intime Miyabi (Alberto Pittaluga)
157. Intime Miyabi (Italian) (Alberto Pittaluga)
158. Intime Miyabi (Japanese) (Alberto Pittaluga)
159. Intime Sora 2 (Alberto Pittaluga)
160. Intime Sho DD (Alberto Pittaluga)
161. ISN Audio Rambo (Jürgen Kraus)
162. KBEAR Aurora (1) (Baskingshark)
163. KBEAR Aurora (2) (Durwood)
164. KBEAR Aurora (3) (Loomis Johnson)
165. KBEAR Believe (1) (Jürgen Kraus)
166. KBEAR Believe (2) (Baskingshark)
167. KBEAR Believe (3) (Kazi Mahbub Mutakabbir)
168. KBEAR Believe (4) (Loomis Johnson)
169. KBEAR Diamond in Japanese (Jürgen Kraus)
170. KBEAR Diamond (1) (Jürgen Kraus)
171. KBEAR Diamond (2) (Loomis Johnson)
172. KBEAR Diamond (3) (Christophe Branchereau)
173. KBEAR Diamond modding (Biodegraded)
174. KBEAR hi7 (Jürgen Kraus)
175. KBEAR KB04 (1) (Loomis Johnson)
176. KBEAR KB04 (2) (Baskingshark)
177. KBEAR KB04 (3) (Jürgen Kraus)
178. KBEAR KS1 (Baskingshark)
179. KBEAR KS2 (1) J ürgen Kraus)
180. KBEAR KS2 (2) (Baskingshark)
181. KBEAR KS2 (3 (Loomis Johnson)
182. KBEAR Neon (1) (Baskingshark)
183. KBEAR Neon (2) (Kazi Muhbab Mutakabbir)
184. KBEAR Lark (Jürgen Kraus)
185. KBEAR Qinglong (Jürgen Kraus)
186. KBEAR Robin (Baskingshark)
187. KBEAR Rosefinch (Jürgen Kraus)
188. KBEAR TRI I3 Pro (Jürgen Kraus)
189. KBEAR TRI Starsea (1) (Kopiokaya)
190. KBEAR TRI Starsea (2) (Baskingshark)
191. Kefine Klanar (Durwood)
192. Kinboofi MK4 (Jürgen Kraus, Biodegraded)
193. Kinera BD005 Pro (Baskingshark)
194. Kinera Hodur (Alberto Piitaluga)
195. Kinera Idun 2.0 (1) (Durwood)
196. Kinera Idun 2.0 (2 (Loomis Johnson)
197. Kiwi Cadenza (Durwood)
198. Kiwi Ears Orchestra Lite (Kazi Mahbub Mutakabbir)
199. Kiwi Ears Quintet (Kazi Muhbab Mutakabbir)
200. Klipsch T5 II TWS Sport (Loomis Johnson)
201. Knowlege Zenith AS24 (Standard Version) (Jürgen Kraus)
202. Knowledge Zenith AS24 (Tunable Version) (Durwood)
203. Knowledge Zenith ASF (Kazi Mahbub Mutakabbir)
204. Knowledge Zenith ASX (1) (Jürgen Kraus)
205. Knowledge Zenith ASX (2) (Loomis Johnson)
206. Knowlege Zenith F-Fi (Kazi Mahbub Mutakabbir)
207. Knowledge Zenith ED9 (Loomis Johnson)
208. Knowledge Zenith ED16 (1) (Jürgen Kraus)
209. Knowledge Zenith ED16 (2) (Loomis Johnson)
210. Knowledge Zenith EDX (Jürgen Kraus)
211. Knowledge Zenith ESX (Durwood)
212. Knowledge Zenith Ling Long (Jürgen Kraus)
213. Knowledge Zenith VXS Pro TWS (Durwood)
214. Knowledge Zenith ZEX (1) (Kazi Mahbub Mutakabbir)
215. Knowledge Zenith ZEX (2) (Durwood)
216. Knowledge Zenith ZEX (3) (Alberto Pittaluga)
217. Knowledge Zenith ZSN (Loomis Johnson)
218. Knowledge Zenith ZSN Pro (Slater)
219. Knowledge Zenith ZSN Pro X (Jürgen Kraus)
220. Knowledge Zenith ZS4 (Loomis Johnson)
221. Knowledge Zenith ZS7 (Loomis Johnson)
222. Knowledge Zenith ZS10 (Jürgen Kraus, Biodegraded)
223. Knowledge Zenith ZS10 Pro (Loomis Johnson)
224. Knowledge Zenith ZSX Terminator (Loomis Johnson)
225. Knowledge Zenith ZVX (Jürgen Kraus)
226. K’s Earphone Bell-LBs (Alberto Pittaluga)
227. K’s Earphone K300 (Alberto Pittaluga)
228. LETSHUOER Conductor (Biodegraded)
229. LETSHUOER DZ4 (Jürgen Kraus)
230. LETSHUOER EJ07M (Jürgen Kraus)
231. LETSHUOER EJ09 (Biodegraded)
232. LETSHUOER S12 vs. 7Hz Timeless (Jürgen Kraus)
233. Lker i8 (Jürgen Kraus)
234. Lypertek Tevi L3 Powerplay (Loomis Johnson)
235. LZ A2 (Jürgen Kraus)
236. LZ A7 (Baskinghark)
237. MEE Audio Pinnacle P2 (Loomis Johnson)
238. Meze 12 Classics V2 (Kazi Mahbub Mutakabbir)
239. Meze RAI Penta (Kazi Mahbbub Mutakabbir)
240. Meze RAI Solo (Jürgen Kraus)
241. Mifo S TWS (Loomis Johnson)
242. Moondrop Alice (1) (Durwood)
243. Moondrop Alice (2) Loomis Johnson
244. Moondrop Aria (1) Jürgen Kraus)
245. Moondrop Aria (2) Kazi Muhbab Mutakabbir)
246. Moondrop Aria SE (Kazi Muhbab Mutakabbir)
247. Moondrop x Crinacle Blessing2:Dusk (1) Jürgen Kraus)
248. Moondrop x Crinacle Blessing2:Dusk (2) Biodegraded
249. Moondrop CHU (1) (Kazi Mahbub Mutakabbir)
250. Moondrop CHU (2) (Alberto Pittaluga)
251. Moondrop CHU (3) Jürgen Kraus)
252. Moondrop Crescent (Jürgen Kraus)
253. Moondrop Illumination (Jürgen Kraus)
254. Moondrop Kanas Pro (1) Biodegraded
255. Moondrop Kanas Pro (2) (Jürgen Kraus)
256. Moondrop Kanas Pro (3) Loomis Johnson
257. Moondrop KATO (Jürgen Kraus)
258. Moondrop Lan (1) (Durwood)
259. Moondrop Lan (2) (Loomis Johnson)
260. Moondrop May (Durwood)
261. Moondrop Quarks (Kazi Mahbub Mutakabbir)
262. Moondrop Spaceship (Jürgen Kraus)
263. Moondrop Space Travel (1) (Jürgen Kraus)
264. Moondrop Space Travel (2) (Loomis Johnson)
265. Moondrop SSP (Jürgen Kraus)
266. Moondrop SSR (1) Jürgen Kraus
267. Moondrop SSR (2) (Baskingshark)
268. Moondrop Starfield (1) (Jürgen Kraus)
269. Moondrop Starfield (2) Loomis Johnson
270. Moondrop Starfield (3) (Durwood)
271. Moondrop Starfield II (1) (Durwood)
272. Moondrop Starfield II (2) (Loomis Johnson)
273. Moondrop Stellaris (Jürgen Kraus)
274. Naenka LITE Pro TWS (Loomis Johnson)
275. NF Audio NM (Kazi Mahbub Mutakabbir)
276. NF Audio NM2+ (1) (Jürgen Kraus)
277. NF Audio NM2+ (2) Loomis Johnson
278. NiceHCK Bro (Jürgen Kraus)
279. NiceHCK DB1 (Jürgen Kraus)
280. NiceHCK DB3 (Jürgen Kraus)
281. NiceHCK DT600 (Jürgen Kraus)
282. NiceHCK EB2 (Jürgen Kraus)
283. NiceHCK EB2S (Jürgen Kraus)
284. NiceHCK EBX21 (Baskingshark)
285. NiceHCK EP10 (Jürgen Kraus)
286. NiceHCK EP35 (Jürgen Kraus)
287. NiceHCK F1 (Jürgen Kraus)
288. NiceHCK Lofty (Jürgen Kraus)
289. NiceHCK HK6 (Loomis Johnson)
290. NiceHCK M5 (Jürgen Kraus)
291. NiceHCK M6 (1) (Jürgen Kraus)
292. NiceHCK M6 (2) (Loomis Johnson)
293. NiceHCK N3 (Loomis Johnson, Jürgen Kraus)
294. NiceHCK NX7 (1) (Loomis Johnson)
295. NiceHCK NX7 (2) (Jürgen Kraus)
296. NiceHCK NX7 Pro (Jürgen Kraus)
297. NiceHCK NX7 MK3 (1) (Loomis Johnson)
298. NiceHCK NX7 MK3 (2) (Jürgen Kraus)
299. NiceHCK NX7 MK4 (Jürgen Kraus)
300. NiceHCK P3 (Jürgen Kraus)
301. NiceHCK X49 (Jürgen Kraus)
302. Oladance OWS Pro (Jürgen Kraus)
303. Oladance OWS Sports (Durwood)
304. Oladance Wearable Stereo (Loomis Johnson)
305. Oneodio OpenRock Pro (Loomis Johnson)
306. Oriolus Isabellae (Jürgen Kraus)
307. Oriveti OH500 (Alberta Pittaluga)
308. Paiaudio DR2 (Jürgen Kraus)
309. Penon Fan 2 (Alberto Pittaluga)
310. PHB EM-023 (Jürgen Kraus)
311. Pioneer CH3 (Jürgen Kraus)
312. Queen of Audio Pink Lady (Jürgen Kraus)
313. Reecho Insects Awaken (Kazi Mahbub Mutakabbir)
314. RHA CL2 (Alberto Pittaluga)
315. Rose Mojito (Alberto Pittaluga)
316. Rose Technics QT9 MK2S (1) (Jürgen Kraus)
317. Rose Technics QT9 MK2S (2) (Kazi Mahbub Mutakabbir)
318. Samsung Galaxy Buds Live (Loomis Johnson)
319. Samsung Galaxy Buds Plus (Loomis Johnson)
320. SeeAudio Bravery (1) (Loomis Johnson)
321. SeeAudio Bravery (2) (Baskingshark)
322. Semkarch CNT1 (Loomis Johnson)
323. Senfer DT6 (1) (Jürgen Kraus)
324. Senfer DT6 (2) (Loomis Johnson)
325. Senfer UEs/NiceHCK Bro (Loomis Johnson, Jürgen Kraus)
326. Sennheiser CX 400BT (Loomis Johnson)
327. Sennheiser IE 40/400/500 PRO compared (Jürgen Kraus)
328. Sennheiser IE 40 PRO (Jürgen Kraus, Biodegraded)
329. Sennheiser IE 200* (Jürgen Kraus)
330. Sennheiser IE 300 (Jürgen Kraus)
331. Sennheiser IE 400 PRO (Jürgen Kraus)
332. Sennheiser IE 500 PRO (Jürgen Kraus, Biodegraded)
333. Sennheiser IE 600 (Jürgen Kraus)
334. Sennheiser IE 600 and IE 900 Counterfeits (Alberto Pittaluga)
335. Sennheiser IE 900* (1) (Alberto Pittaluga)
336. Sennheiser IE 900* (2) (Jürgen Kraus)
337. Sennheiser IE 900* (Deutsch) (Jürgen Kraus)
338. Shanling ME80 (Jürgen Kraus)
339. Shanling Sono (Durwood)
340. Shuoer Tape (Loomis Johnson)
341. Shozy Form 1.1 (Biodegraded)
342. Shozy Form 1.1 vs. Form 1.4 (Jürgen Kraus)
343. Shozy Form 1.4* (1) (Jürgen Kraus)
344. Shozy Form 1.4* (2) (Durwood)
345. Shozy Form 1.4* (3) (Loomis Johnson)
346. Shozy Rouge (1) (Loomis Johnson)
347. Shozy Rouge (2) (Durwood))
348. Shozy Rouge (3 (Jürgen Kraus)
349. Simgot EA500 (Alberto Pittaluga)
350. Simgot EA1000 (Alberto Pittaluga)
351. Simgot EM2 (Jürgen Kraus)
352. Simgot EM2 (Loomis Johnson)
353. Smabat M0 (Durwood)
354. Smabat M2 Pro (1) (Baskingshark)
355. Smabat M2 Pro (M2) (Jürgen Kraus)
356. Smabat Proto 1.0 (Alberto Pittaluga)
357. Smabat ST-10 (Jürgen Kraus)
358. Smabat X1 (1) (Baskingshark)
359. Smabat X1 (2 (Jürgen Kraus)
360. Sony MH755 (Jürgen Kraus)
361. Sony IER-ZR (Kazi Mahbub Mutakabbir)
362. Sony WX-1000XM3 (Loomis Johnson)
363. Soundpeats H1 (Loomis Johnson)
364. Soundpeats Opera (Kazi Mahbub Mutakabbir)
365. Status Audio Between Pro TWS (Loomis Johnson)
366. SuperEQ Q2 Pro ANC TWS (Loomis Johnson)
367. Tanchjim Blues (Jürgen Kraus)
368. Tanchjim Cora (Jürgen Kraus)
369. Tanchjim Darling (Aberto Pittaluga)
370. Tanchjim Ola (Loomis Johnson)
371. Tanchjim Oxygen* (Alberto Pittaluga)
372. Tanchjim Tanya (1) (Baskingshark)
373. Tanchjim Tanya (2) (Alberto Pittaluga)
374. Tangzu WAN ER (Jürgen Kraus)
375. Tansio Mirai TSMR-6 (Alberto Pittaluga)
376. TempoTec IM05 (Jürgen Kraus)
377. Tennmak Dulcimer (Loomis Johnson)
378. Tforce Yuan Li (1) (Durwood)
379. Tforce Yuan Li (2) (Loomis Johnson)
380. Tinaudio T1 (Jürgen Kraus)
381. Tinaudio T2 (Jürgen Kraus)
382. TINHIFI C2 Mech Warrior (Jürgen Kraus)
383. TINHIFI C3 (1) (Durwood)
384. TINHIFI C3 (2) (Jürgen Kraus)
385. TINHIFI C5 (1) (Durwood)
386. TINHIFI C5 (2) Loomis Johnson
387. TINHIFI P1 Max (Jürgen Kraus)
388. TINHIFI T2 DLC (Jürgen Kraus)
389. TINHIFI T2 EVO (Jürgen Kraus)
390. TINHIFI T2 Plus (1) Jürgen Kraus
391. TINHIFI T2 Plus (2) (Loomis Johnson)
392. TINHIFI T2 Plus (3) Durwood
393. TINHIFI T4 (1) (Durwood)
394. TINHIFI T4 (2) (Loomis Johnson)
395. TINHIFI T4 (3) (Jürgen Kraus)
396. TINHIFI T4 Plus (Jürgen Kraus)
397. TINHIFI T5 (Alberto Pittaluga)
398. TINHIFI Tin Buds 3 (Loomis Johnson)
399. Tinker TK300 (Baskingshark)
400. ToneKing Nine Tail (Loomis Johnson)
401. TOZO Golden X1 (Loomis Johnson)
402. Triaudio I3 (1) (Baskingshark)
403. Triaudio I3 (2) (Jürgen Kraus)
404. Triaudio I3 Modding (KopiOkaya)
405. Triaudio I4 (1) (KopiOkaya)
406. Triaudio I4 (2) (Loomis Johnson)
407. Triaudio Meteor (KopiOkaya)
408. Tripowin X HBB Olina (KopiOkaya)
409. Tripowin Leá (Jürgen Kraus)
410. TRN BA5 (1) (Durwood)
411. TRN BA5 (2) (Jürgen Kraus)
412. TRN BA5 (3) (Loomis Johnson)
413. TRN BA8 (1) (Baskingshark)
414. TRN BA8 (2) (Jürgen Kraus)
415. TRN BAX PRO (Jürgen Kraus)
416. TRN Conch (Durwood)
417. TRN Kirin (Alberto Pittaluga)
418. TRN ST5 (Looomis Johnson)
419. TRN-STM (1) (Loomis Johnson)
420. TRN-STM (2) (Baskingshark)
421. TRN-STM (3) (Durwood)
422. TRN T300 (1) (Baskingshark)
423. TRN T300 (2) (Loomis Johnson)
424. TRN T300 (3) (Alberto Pittaluga)
425. TRN V80 (Jürgen Kraus)
426. TRN V90 (1) (Durwood)
427. TRN V90 (2) (Jürgen Kraus)
428. TRN V90S (1) (Baskingshark)
429. TRN V90S (2) (Jürgen Kraus)
430. TRN VX (1) (Loomis Johnson)
431. TRN VX (2) (Baskingshark)
432. TRN VX (3) (Jürgen Kraus)
433. TRN-VX modding (KopiOkaya)
434. Tronsmart Apollo (Baskingshark)
435. Tronsmart Apollo Bold TWS ANC (Baskingshark)
436. Truthear Hexa (Durwood)
437. Truthear Hola (Durwood)
438. Truthear X Crinacle Zero (Kazi Muhbab Mutakabbir)
439. Truthear X Crinacle Zero Red (1) (Jürgen Kraus)
440. Truthear X Crinacle Zero Red (2) (Kazi Muhbab Mutakabbir)
441. Unique Melody 3DT (Jürgen Kraus)
442. Urbanfun YBF-ISS014 (Baskingshark)
443. Venture Electronics BIE Pro (Jürgen Kraus)
444. Venture Electronics Bonus IE (Jürgen Kraus)
445. Venture Electronics Monk Go (Jürgen Kraus)
446. Vision Ears Elysium* and VE8 (1) (Jürgen Kraus)
447. Vision Ears Elysium* and VE8 (2) (Biodegraded)
448. Vision Ears EXT (Jürgen Kraus)
449. Vision Ears Phönix (Jürgen Kraus)
450. Westone MACH 40 and MACH 60 (Kazi Muhbab Mutakabbir)
451. Whizzer BS1 (Jürgen Kraus)
452. Whizzer Kylin HE01 (1) Jürgen Kraus)
453. Whizzer Kylin HE01 (2) (Baskingshark)
454. Whizzer Kylin HE03AL (Jürgen Kraus)
455. Whizzer Kylin HE03D (1) (Durwood)
456. Whizzer Kylin HE03D (2) (Loomis Johnson)
457. Whizzer Kylin HE10 (Jürgen Kraus)
458. Yinyoo BK2 (Baskingshark)
459. Yinyoo D2B4 v2 (1) (Biodegraded)
460. Yinyoo D2B4 v2 (2) (Jürgen Kraus)
461. Yinyoo V2 (Jürgen Kraus)

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