LATEST ADDITIONS

Ken Kessler  |  Jan 27, 2023
This month, we review: Eric Clapton, Dillard & Clark, Rosa King and Earl's Closet.
Mike Barnes  |  Jan 27, 2023
This month we review: Arctic Monkeys, Pete Astor, Fractal Sextet and Jack Hues & The Quartet.
Steve Harris  |  Jan 27, 2023
This month we review: Connie Han, Elvin Jones, The Bad Plus and Andrew Mccormack.
Peter Quantrill  |  Jan 27, 2023
This month we review: Igor Levit, Leipzig Orch/Welser-Möst, Ian Bostridge/Lars Vogt, Il Pomo d'Oro/Emelyanychev and BBC CO/Bramwell Tovey.
Review: Jamie Biesemans,  |  Jan 26, 2023
hfnoutstandingNow benefitting from the latest updates to Auralic's Lightning streaming platform, the 'starter' Altair DAC also features a raft of mechanical and detailed design improvements

Although Auralic (promoted as AURALiC) only launched the Altair G1 in 2020, the Chinese brand already has its G1.1 update available. It appears together with the Aries G1.1 as the new and more affordable options within their respective tiers, with the Altair and Aries G2.1 [HFN Oct '21 & Feb '21] being the more expensive models. However, as all Auralic products share a very similar chassis design and carry names that aren't very descriptive, it's sometimes difficult to discern which box does what.

Review: Jamie Biesemans,  |  Jan 24, 2023
hfnoutstandingAVM's flagship all-in-one network/CD music system combines cool-running power with huge flexibility while the top 'Black Edition' features a custom finish and selected tubes

Nowadays there's a wealth of all-in-one units available but AVM was one of the brands to spot the trend early on. That partly explains why, even in an industry that loves extensive model ranges, the company has an impressively large product offering – including five streaming receiver solutions. And there's little concession to price in this range, so the top-of-the-line £14,950 Ovation CS 8.3 model boasts ample power reserves, a full range of streaming capabilities and a slot-loading CD player.

Review: Ken Kessler,  |  Jan 23, 2023
hfnoutstandingUpdating the DS-W2 with a host of trickle-down technology from the brand's flagship 'dual mono' Grand Master, the new DS-W3 'optical' pick-up looks to steal the limelight

An object lesson in how to create a monopoly: make something no-one else can copy. As tricky to manufacture as CD players, electric cars, digital cameras and quartz watches might have been at the outset, competitors soon emerged for each. Not so DS Audio's 'optical' cartridges, which have captivated the high-end since arriving in 2015. Imitators have yet to emerge.

Steve Sutherland  |  Jan 20, 2023
For the group's tenth album, Roger Waters put his own spin on George Orwell's famous parable. The result was 'nobody's favourite Pink Floyd LP', says Steve Sutherland

Kate Bush had her Bronte. And her Joyce. The Doors had their Blake via Huxley. Dire Straits had their Shakespeare. Led Zeppelin had their Tolkien. The Police had their Nabokov. It seems like since time immemorial rock and pops stars have plundered literature for lyrical inspiration. Even Ozzy had his Crowley. And Pink Floyd were no exception.

Review: Adam Smith,  |  Jan 19, 2023
hfnoutstandingHaving rolled out its first direct-drive deck in the HW-40 Anniversary, VPI has grafted its proven motor design into the flexible Avenger platform, complete with arm and MC

We may have a first here as VPI offers its Avenger turntables in belt-drive, rim-drive and direct-drive guises, the latter £36,500 Avenger Direct bringing the range to a total of four models. The genesis of the Avenger Direct was bittersweet, however, because it was inspired by, and has subsequently 'leap-frogged' over, the long-awaited VPI Vanquish flagship. In the meantime, the launch of the £100,000+ Vanquish remains on hold...

Peter Quantrill  |  Jan 17, 2023
'The Bat' has charmed audiences for almost 150 years, but does the fizz stay fresh or fall flat on record? Peter Quantrill raises a glass to the ultimate New Year's operetta

Johann Strauss's third operetta was an instant hit when it opened at the Theater an der Wien in April 1874. Austria had suffered a stock-market crash the previous year and audiences were in the mood to rinse away their troubles with buckets of sekt and a slice of escapist nostalgia. Strauss set to work and sketched the whole operetta in six weeks, boiling down a typical, if confused-looking, medley of German farce, French vaudeville (the original story by Meilhac and Halévy) and Viennese adaptation.

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