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 language. Every company goes its own way - some build their own closed ecosystems, others support already existing platforms, and some seem to be waiting, although it is not entirely clear for what. As a result, the user has to improvise and navigate between all these options, which often ends with the use of several different apps. One streamer appears in the streaming service app, another does not. One supports all the popular standards, while with another the wait for certification has already dragged on for a year, and nobody knows whether customers will ever get it. One proprietary app turns out to be polished, another is irritating at every turn. And yet it was all supposed to be so elegant... Streamers, DACs and all-in-one systems are still evolving relatively quickly, but when it comes to apps, the last real breakthrough was Roon, which arrived on the scene ten years ago. That software has also continued to evolve, though perhaps not as quickly as some would like. Meanwhile, a very serious rival has emerged right under our noses. Meet JPLAY.

Denon is expanding its wireless Denon Home family with three new speakers - the Home 200, Home 400 and Home 600. The company presents them as the next step in its premium home multi-room system, combining wireless operation, HEOS integration and a more refined approach to industrial design. The Denon Home line has become one of the more important pillars of the brand's current portfolio, and the new models are intended to broaden it both in terms of scale and functionality. As Denon explains, the project began not only with questions about power, drivers and connectivity, but also with a more practical one - how a speaker should function in a real living space. That is why the new models use seamless fabrics, anodised aluminium, smooth finishes, soft silicone elements and simple geometric forms designed to blend more naturally into modern interiors.

Meze Audio is expanding its in-ear monitor range with the new Astru, a model positioned as the company's flagship single dynamic-driver IEM. It is aimed at listeners looking for the highest possible sound quality from a relatively simple driver architecture, without moving into the price territory of the most exclusive multi-driver high-end designs. The Romanian manufacturer emphasises that Astru is not intended to compete through driver count or catalogue complexity, but rather to develop a long-standing design philosophy built around the idea that a single carefully engineered driver can deliver high resolution, convincing layering and a spacious, coherent presentation.

JPLAY has added HighResAudio as its third integrated streaming service alongside TIDAL and Qobuz, further strengthening its position as a playback application focused on high-quality audio and multi-source library management within a single interface. The new partner service specialises in studio-quality hi-resolution recordings, offering lossless streaming up to 24-bit/192 kHz together with access to a virtual storage space for purchased music. This combination may be particularly appealing to listeners who treat high-resolution files as a primary listening format rather than simply an extension of conventional streaming. Integration with HighResAudio is already available in the latest version of the JPLAY app. After signing in to a HighResAudio account from within JPLAY, users gain access to the platform's full streaming catalogue and can browse it in the same unified environment used for other supported services.

Questyle is expanding its range of portable audio devices with two new models, Sigma and Sigma Pro. The company positions them as mobile solutions intended to deliver a level of performance closer to full-size desktop systems, aimed at users who want genuine high-fidelity playback from a computer, smartphone or tablet. Both devices are built around Questyle's proprietary Current Mode Amplification, or CMA, technology, which is designed to combine very low distortion, strong dynamic performance and substantial output power within a compact form factor.

Astell&Kern is one of the most recognisable brands in the high-resolution portable player segment. The company built its reputation on advanced Android-based digital audio players designed to combine high sound quality with support for streaming services and a distinctive angular industrial design. The A&ultima line serves as the manufacturer's flagship series, where its most sophisticated technical solutions typically make their debut, including complex DAC configurations, elaborate headphone amplification stages and proprietary technologies intended to improve signal processing and reduce noise. Limited editions of these players have long attracted particular attention, and because copper is a material that carries strong positive associations in the hi-fi world, the standard A&ultima SP4000 is now joined by a special A&ultima SP4000 Copper version. According to the manufacturer, copper has been used not only for visual impact but also as a component intended to influence the sonic character directly. The new model is aimed at listeners who treat a portable player as a fully fledged high-end source in any listening environment.

When Fezz Audio, then a small, unknown domestic manufacturer, unveiled its first amplifier ten years ago, very few people believed it stood a chance. Yes, the company was connected to a respected producer of transformers used by prestigious audio brands, but as its own label it simply did not exist in the consciousness of audiophiles. At launch, Fezz brought only a single product to market. It was not a compact digital-to-analog converter, not a lavishly equipped solid-state integrated, but a modest tube integrated that, from the customer's perspective, distinguished itself mainly with its reasonable price and a handful of available color finishes. How was this oddity ever supposed to shake up the tightly sealed hi-fi world? And yet, within just a few months, Silver Luna was on everyone's lips. Reviewers and music lovers quickly took to it, drawn by its honest, fully tube-based sound and its raw, minimalist, slightly industrial styling. It was a straightforward, sensible piece of gear with no gimmicks, no cosmetic frills, no wooden ornaments - just engineering focused on doing one job well. It turned out you really could build tube amplifiers in Europe that didn't cost as much as a new car.

Perlisten entered the hi-fi market in a way that surprised many - suddenly, yet with clear ambition. Its debut was far from accidental, led by seasoned engineers and managers with decades of experience in transducers, measurement systems, and loudspeaker design. Co-founder and president Dan Roemer brings over 25 years of industry expertise, including work with the NHT research group, MITek Corporation, and projects in the automotive and aerospace sectors. Lars Johansen, with more than 30 years in audio, has contributed to brands like JBL, Harman Kardon, Klipsch, and Jamo, and later served as partner and president of Miller & Kreisel, supplying solutions for recording studios and premium home theatres. Since its formal launch in 2016, Perlisten has aimed to deliver top-tier products, reflected in its pricing. The introduction of the more accessible A-Series marked a shift, opening the brand to a wider audience. Interest continues to grow, yet many enthusiasts remain unaware of the company's origins, the people behind it, and its long-term objectives. This is why I decided to speak with someone who has been with Perlisten from the start and understands every stage of its development - from early concepts and factory selection to launches and subsequent product lines. Erik Wiederholtz, Perlisten's Technical Director, is an acoustics specialist with experience in transducer modelling, dynamic speakers, MEMS digital microphones, hearing aids, headphones, and small speakers. Our conversation, I believe, will shed light on the company's foundations and help readers understand what Perlisten represents.

Melodika expands its Sky Blue range with a new power cable, the SBP, designed for users who value clean, stable power delivery in audio and video systems. As the company explains, high-quality power supply is often a crucial yet underestimated element influencing the final sound performance. The SBP has therefore been engineered as a solid, technically sound solution for demanding hi-fi enthusiasts seeking to minimise electrical interference and ensure long-term reliability.

Melodika is a Polish manufacturer of cables and hi-fi loudspeakers, established in 2010. The company follows a pragmatic, no-nonsense design philosophy focused on real engineering and audible results rather than marketing gimmicks. Its product portfolio includes speaker, signal and power cables, as well as installation wiring and accessories, all developed and assembled in Poland. Melodika's mission is to deliver high-quality sound at reasonable prices - a goal consistently recognised by numerous awards and positive reviews from both Polish and international audio experts.

At its core, the SBP uses three 2.5 mm² conductors made from high-purity, oxygen-free copper (OFC) of 4N grade (99.99 % purity). This material guarantees excellent conductivity, low resistance (around 7.75 Ω/km) and minimal oxidation over time. The cable features a double-shielded design - an 85 % coverage OFC braid combined with a Mylar foil - effectively suppressing electromagnetic and radio-frequency interference from neighbouring devices or cables. This makes the SBP suitable not only for advanced home hi-fi systems but also for professional or industrial environments where power stability and noise suppression are critical.

To ensure durability and safety, the SBP incorporates a triple-layer insulation system. Its inner dielectric layers provide a high insulation resistance of over 200 MΩ/km, while the outer jacket, made of modified PVC, offers enhanced mechanical, thermal and chemical protection. Such construction allows for flexible use, including in-wall installations and demanding operating conditions. New, gold-plated connectors further improve contact stability and corrosion resistance, ensuring a secure connection and long-term performance. The cable has successfully passed a 4000 V voltage test, confirming its robust insulation and high safety margin.

Melodika offers the SBP in eight lengths ranging from 0.5 m to 5 m, priced between €132 and €239. Each version comes with a 5-year manufacturer's warranty. Thanks to its solid construction, wide compatibility and noise-reducing properties, the SBP can be used not only in audio and home cinema systems but also in measurement, laboratory or medical equipment where clean and stable power is essential. Info and photos by Melodika.

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.