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The decision has been made - we are buying a turntable. Everyone around us seems to be talking about the beauty of analog sound, so sooner or later we decide to begin our own vinyl adventure. Common sense may object a little, because what exactly is the point? Records are delicate, they have to be handled with care, and every twenty minutes or so you need to get up and turn the disc over if you want to hear the rest of the album. How does that make any sense in an age when a phone can give us access to millions of tracks, let us skip from one to another with a single tap, or simply keep playing for hours without any effort on our part? Users of streaming services could probably listen until retirement age and still not discover even a small fraction of the music available to them. So who actually needs a turntable?

If I were putting together a list of the ten best Polish metal releases of this millennium, "Affliction XXIX II MXMVI" would be one of the first titles I would reach for. Blindead's third full-length is probably the greatest thing that ever happened to Polish post-metal. It was also the record that began my own history with the band. Only later did I work my way back to their first two releases, and then waited, with high expectations, for "Absence" and "Ascension". I love both of those records, although there is no denying that by then, Blindead had already become something slightly different. Later, of course, I was also skeptical about "Niewiosna", but over time I came around to it as well. For a long while, then, I kept waiting for a successor that would not necessarily recreate the old formula, but would at least remind us why so many listeners fell in love with Blindead in its most suffocating, monumental, post-metal form. Instead, in 2022, the group announced that it was coming to an end.

Over the past dozen or so years, I have tried many times to find my way into Darkthrone. Sooner or later, every one of those attempts ended in failure. Until last year, that is. Something finally clicked - and clicked so decisively that the Norwegians' discography landed on my shelf almost in one sweep. Perhaps it is another reminder that taste changes with age, but so does the way we listen to music. Something that once felt off-putting, chaotic, or simply not meant for me suddenly began to fall into place as a remarkably coherent whole. There is so much material there that I am still finding new details in Darkthrone's music, and that also lets me approach the new album with fresh ears - the first one I knowingly waited for and the first one I preordered. That is a very different experience from catching up years after the fact. This time I was not reaching for another missing piece of the discography, but for an album whose release genuinely felt like an event.

If someone were to say that the headquarters of one of the most interesting and fastest-growing manufacturers of tube amplifiers and hi-fi components was based not in Munich, Glasgow, or Tokyo, but in a tiny village near Białystok, Poland, many audiophiles would probably raise an eyebrow. This is, after all, the heart of Podlasie - a region that Poles themselves tend to see as beautiful, picturesque, and somewhat removed from the country's main industrial centers and, at least in popular jokes, a little behind the curve of modern life. Internet memes reinforce the stereotype - people are supposedly still discovering electricity there, throwing spears at airplanes, and rolling up the asphalt from the roads at night. A quick search brings up images of R2D2 and C3PO turned into a moonshine still, a long sausage wrapped around a cable reel labeled "Podlasie Fiber Optic", and Fred Flintstone's car presented as a local taxi. And yet it is precisely here, among forests, lakes, and open countryside, that a company emerged, first with small, simple, affordable tube amplifiers, and now delivers beautifully engineered, thoughtfully designed, thoroughly modern components to music lovers in more than thirty countries worldwide.

In the age of streaming and digital audio files, one might think that listening to music has never been simpler. In practice, however, especially for more demanding users, it remains a surprisingly complicated business, particularly when we want to combine the convenience of using a smartphone with the capabilities of more advanced audio equipment. When it comes to managing music playback, we usually have two options. The first is to use the app provided by the streaming service itself - quick and intuitive, but offering only basic functionality. Better control over sound or more advanced options are out of the question, and on top of that our player must be compatible with a given app and hold the right certification for it to appear on the list of available output devices at all. The second option is to turn to external software such as Audirvana, Roon or apps supplied by hardware manufacturers such as BluOS, Lumin or Auralic. This is where the trouble begins as well. Either something important is missing, or the app turns out to be clumsy and unstable, or it is excellent, refined and versatile, but expensive. What is missing is a single standard and a common…

In 1997, Radiohead released their album OK Computer. It was a record that not only startled the band's loyal followers but also anyone who happened to hear it. It explored themes of technology, alienation, and social unrest in a rapidly shifting world, and it's often read as a darkly prophetic commentary on the dehumanizing influence of the digital age - a message that, almost thirty years later, still feels unnervingly precise. The lyrics, often delivered in a weary, detached voice, paint a grim, inevitable future where people lose themselves in virtual realities. They trace the moment when tools meant to serve us quietly begin to own us, turning convenience into dependence. The album became legendary for its unorthodox production and haunting, atmospheric sound, both of which heightened its sense of unease and disorientation.

In a twist that has tails wagging and audiophiles howling, the canine world has unleashed its unparalleled auditory prowess upon the high-end audio scene. In a market saturated with human opinions, dogs have emerged as the ultimate connoisseurs of sound, fetching accolades for their unparalleled ear for detail.

Vinyl LP pressing plants are churning out records at such a clip they're routinely backed up for six months or more. The once discredited LP has now become one of the few revenue centers for the record business outside of streaming. And now the thunderclap! The format predicted by a tenacious few since the invention of the MP3 - the lowly CD - has for the moment arrested its decline and is again posting sales gains. Defenders of the CD rejoice! Vindication is here! Or is it? Is the long slide really over?

In jazz, as in most other forms of popular music, it's women who are bringing the new and much needed energies to the cause of keeping the music relevant and important. Three recent releases, all of which vaguely fit under the moniker of jazz, are striking examples of the artistry and ideas that women are bringing to music today. In 1979, singer songwriter Joni Mitchell famously collaborated with jazz-bass visionary Charles Mingus just prior to his death on a record she called simply: Mingus. Filled with compositions written by Mingus for Mitchell, it remains a highlight of the more experimental phase of her long career. Mitchell herself has long been a frequent source of material for female jazz singers, including Diana Krall, Jane Monheit, Dianne Reeves, Cassandra Wilson, and Holly Cole. The genesis of Both Sides of Joni began in rehearsals in the late Janiece Jaffe's barn in southern Indiana between the singer and her longtime friend, Monika Herzig, both faculty members at Indiana University's world renown music school. After sufficient time to work on the new arrangements by Herzig, the pair played the material live in March 2021 before heading into Airtime Studios in Bloomington, Indiana, to cut these…

Dual is one of the brands highly regarded by audiophiles, vinyl enthusiasts in particular. And there's a good reason for that. The German manufacturer has produced so many outstanding turntables that it's hard to count them all. A well-preserved or restored Dual can be connected to any stereo system, even an expensive one, and not only will it look great, but with an appropriate cartridge, it should also sound so good that new, mid-range turntables will hide under the sofa with shame. Until recently, if you wanted to buy a Dual product, you would have to be patient, search through popular auction services and find a professional who could bring old electronics to factory condition. Fortunately, today Dual's products are not only museum pieces, decorations in trendy cafes, or turntables for connoisseurs who can appreciate the quality of their craft and sound. After the reactivation of the company, you can now purchase them again in audio stores. How did it come about? Is it something more than a short, one-time spurt? And why did so many vinyl fans get goosebumps just hearing that Dual was back in business? To find out, we decided to look at the company's history and…