We hi-fi reviewers all have our go-to test tracks; songs we know better than the back of our hands that allow us to identify certain (often many) aspects of a component or system's performance. Many of the less obscure ones are referenced in What Hi-Fi? reviews so that readers can, if they so wish, follow our descriptions of how that product delivers the song, at home or during a demo.
Below is a selection of test tracks our review team used most this year, a mixture of new releases, oldies-but-goodies that are never far from our Tidal 'Recently Played' rotation, and those we have picked up at hi-fi shows (because that's always a given). So if you've got new kit or are simply looking for new music inspiration, this list will hopefully give you a nugget or two.
Meute – You & Me (Flume remix)
Words by Becky Roberts
Any piece of kit I've come across this year with a commanding presence has simply had to be fed You & Me by Meute. The 11-piece German ‘techno marching band’ uniquely fuses beats with brass to put their own spin on techno and house mixes from well-known DJs, and as you might envisage from an assemble of such description, their cover of Flume’s creative take on the popular Disclosure track is a concoction of melody-setting saxophones, trumpets, trombones and horns above a driving drumbeat (which uses a rototom in there somewhere!).
Its delivery absolutely demands top-class dynamic expression and scale, as well as low-end tautness and punch during the most theatrical displays of brass and percussion. But perhaps most important is a system's top-end transparency, so that the bells can ring out with apt shrillness without overshadowing the details within them.
Max Richter – Never Goodbye
Words by Harry McKerrell
I’m always keen on a slow-burning piece of orchestral melancholia to get my testing started on a sombre note (it’s fun, really!), and while I was tempted to opt for my perennial favourite in Nick Cave’s Song for Bob, I’m equally reliant on Max Richter’s deeply poignant Never Goodbye from 2017’s gut-punching western Hostiles.
A Max Richter piece through and through, Never Goodbye is an exercise in building emotion, starting out with sparse piano strokes and then growing steadily as orchestral strings build to a heart-rending climax. As an evocation of how grief and guilt can snowball from glowing embers into a roaring fire, it really is second to none, requiring a system that’s capable of capturing that tumultuous sense of drama.
Tame Impala – Let It Happen
Words by Robyn Quick
If I need to feel like I’m in another world, I will play Tame Impala. Let It Happen from the band's 2015 album Currents is my go-to, mainly because of its repetitive but deeply entrancing use of a three-bar loop.
Despite clocking in at an impressive eight minutes, the time whizzes by as you are taken through a brain-boggling music experiment. The song creates that kind of alien experience with a combination of airy synths and powerful bass, as well as Kevin Parker’s heavily reverbed vocals.
Part way through, the song completely shifts as one or two notes get played on a loop, and soaring synths create the sense of an orchestra. The iconic guitar solo then marks the crescendo of the piece, and I defy you not to listen to it without strumming an air guitar.
It is a conundrum in the shape of a song, as its rhythm is constantly changing and demands to be listened to over and over to solve the impossible puzzle. Delivered well on a solid sound system, it will stop you in your tracks.
Pearl Jam – Upper Hand
Words by Alastair Stevenson
Pearl Jam is a seminal band with a special place in any music fan of a certain age’s heart. And while its latest album, Dark Matter, may lack the experimentation of its previous work in Gigaton, or the raw energy and fury of its earlier work in iconic albums Ten and Vs., it has some stellar tracks if you give it the time of day. My personal favourite is Upper Hand. The six-minute slow burner is a complex masterpiece that manages to showcase the growing weariness and maturity of the band.
While lead singer Eddie Vedder’s iconic wails remain thankfully present, the song truly showcases how far the band’s composition and songwriting have come. With swooning solos and a growing sense of hope that slowly rises over its otherwise melancholy tone, it’s a masterpiece that, I will argue to the grave, stands tall as one of the band’s best tracks ever.
Chaka Khan & Rufus – Ain't Nobody
Words by Kashfia Kabir
I re-discovered this funk classic this year and it’s become my go-to track when listening to any new audio product and finding out how it handles rhythm, timing and dynamics. The taut, textured bassline, the snappiness of the drums and Chaka Khan’s distinctive voice, combined with the power, tension and drama of the song, are all elements that should fuse together and work in tandem to bring the funk every time.
It’s a terrific test of just how well a product handles bass, how well it knits together rhythmic elements and precise timing, and of course ample detail to reveal the nuances in the Queen of Funk’s singing.
Florence & The Machine – Cosmic Love (BBC Proms at the Royal Albert Hall)
Words by Andy Madden
I first heard this version of the Florence & The Machine classic being played through TV speakers. Not ideal, I know, but I had a feeling it would make for a great test track. So at my next opportunity, I listened to it through our reference hi-fi system and it’s fair to say I wasn’t disappointed.
The track is part of the band’s most recent BBC Proms performance at the Royal Albert Hall, to celebrate the 15th birthday of the band's debut album, Lungs. And there’s something about the combination of an orchestra, choir, that venue and Welch's voice which gives the track a vibrancy and energy you can’t help but be drawn in by. The whole arrangement sounds huge, dynamic and joyous, with seemingly every element of the ensemble on display. But there are wonderfully intimate elements too, such as the beautiful, sweet-sounding harp which introduces the track. It’s a great test of detail and dynamics.
You can watch the full performance on BBC iPlayer (UK) or stream the album from your favourite streaming service.
Larry Heard & Mr White – The Sun Can’t Compare
Words by Joe Svetlik
This track shouldn’t work, but somehow it does. Heard and White cast their net wide, drawing in dreamlike and hippyish lyrics, scatter drums straight out of Beat Street-era hip-hop, soaring synths – all underpinned with a pulsating, acid house beat. If your system can do them all justice, consider it a true all-rounder.
Beyoncé & Willie Jones – Just for Fun
Words by Ketan Bharadia
Just for Fun is the 15th track on Beyoncé’s 2024 Cowboy Carter album, and despite being buried so deep down the list, is a gem. It is a duet with Willie Jones and something of a quiet storm, growing from sparse beginnings to a full-throated and wonderfully satisfying blend of gospel-tinged country.
The lyrics are of perseverance through hard times, and the song’s slick yet uncluttered production works well. It helps that the vocal performances are superb, with Beyoncé delivering passion and conviction that is complemented seamlessly by Jones’s subtler approach.
This is a great recording that sounds luxuriously bold and full-bodied. Voices and instruments come through with impressive solidity and dynamic integrity intact. On a good system, there should be no hint of harshness, edge or aggression to the sound.
Luna – Bombay Bicycle Club
Words by Lewis Empson
The test track I've found myself using most this year is a song I've been listening to for a decade. I was first introduced to Bombay Bicycle Club's Luna back in 2014 when it featured on the soundtrack of Forza Horizon 2 (long before I joined the What Hi-Fi? team), and it's been a warm, nostalgic track that has resonated deeply ever since.
Only this year did I realise that it's a perfect track for testing soundbars, AVRs and speakers. It's dynamically varied, starting softly and then quickly building with thunderous drums and gorgeous vocal harmonies, while also being complex in its arrangement.
The sparkling strings, rich vocals and punchy baseline underpin the track, while the raw, natural sound of the recording adds texture that is best served by a detailed set of headphones or speakers.
If whatever I'm testing can't capture the grandeur and emotion of this track, then it's simply not up to scratch.
Philip Bailey & Phil Collins – Easy Lover
Words by Kashfia Kabir
This mid-80s collab between Earth, Wind & Fire’s Philip Bailey and Genesis’s Phil Collins produced an absolute banger of a synth-pop hit. What makes it great as a test track is that initial fanfare of noise – drums, synths, keys – that could easily sound too splashy, bright and sharp in an unpleasant way. It’s brilliant for testing treble quality: a good pair of speakers or headphones will relay that sparkly, electronic-tinged intro with all its shine and lustre but also a good deal of subtlety and texture, but never making you wince.
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