World Music Day 2025: Top 10 tracks to test your system

For those uninitiated, Meute isn't just a band; they're an 11-piece German 'techno marching band' – which, let's be honest, sounds like something we just made up. Yet, they miraculously exist, blending brass with beats to reinvent techno and house tracks from some rather famous DJs. And their take on Flume’s remix of that Disclosure classic? It’s pure, unadulterated sonic mischief.Imagine: a symphony of saxophones, trumpets, trombones, and horns, setting the melody, all strutting confidently over a relentless, driving drumbeat (yes, there's a rototom in there, adding its own percussive punch).
To truly appreciate this glorious racket, your system needs to be on its A-game. We’re talking top-class dynamic expression – the kind that makes the brass leap out at you like a startled politician. You’ll need low-end tautness and punch because when those theatrical displays of brass and percussion kick in, anything less sounds like a wet fart in a wind tunnel. But perhaps most crucially, your system needs top-end transparency. Those bells? They need to ring out with just the right amount of shrillness, piercing through the mix like a well-aimed dart, without, you know, just being a general cacophony.

We like to kick off our audio testing with a good dose of orchestral melancholy. Call us optimists, but there's a certain joy in the somber. While Nick Cave's "Song For Bob" is a perennial favorite for this very purpose, we've found an equally potent, gut-punching alternative in Max Richter's "Never Goodbye." Taken from the 2017 western, Hostiles, this track is quintessential Richter. It's a masterclass in emotional build-up, beginning with sparse, haunting piano notes before steadily swelling as orchestral strings weave a path to a truly heart-rending climax. If you want to hear how grief can snowball from a quiet ember into an inferno, this track is unparalleled. For your audio system, "Never Goodbye" is pure gold. It demands a setup capable of capturing every ounce of its tumultuous drama, from the quietest whispers of the piano to the roaring fire of the full orchestra.

When the world gets a bit too much, and we fancy a quick sonic teleportation, our destination is invariably Tame Impala. Specifically, "Let It Happen" from their 2015 magnum opus, Currents. Why this eight-minute epic? Because it's a glorious, brain-bending trip built on a repetitive (but oh-so-entrancing) three-bar loop that defies its own length. You don't just listen to "Let It Happen"; you get absorbed into its alien soundscape, conjured by airy synths, a relentless bassline, and Kevin Parker’s vocals, dripping in reverb like a sonic hallucination. Then, halfway through, it pulls a complete rug-pull: a couple of looped notes, soaring synths suddenly aping an orchestra, before that iconic guitar solo crashes in, demanding an immediate air-guitar intervention. Seriously, try not to. We dare you. This track is a sonic riddle wrapped in an enigma. Its rhythm is a constantly shifting beast, begging for repeat listens just to grasp its impossible logic. But deliver it well through a solid sound system, and it won't just stop you in your tracks; it'll send you to another dimension.

Look, if you're of a certain vintage, Pearl Jam holds a sacred spot in your musical heart. And while their latest album, Dark Matter, might not have the raw fury of Ten or the experimental edge of Gigaton, give it a moment. You'll find some gems.Our pick of the bunch? The six-minute slow-burner, "Upper Hand." This track is a masterclass in complexity, perfectly showcasing the band's evolving maturity and, dare we say, weariness. While Eddie Vedder’s iconic wails are thankfully still present and accounted for, "Upper Hand" truly highlights just how far Pearl Jam's songwriting and composition have come.It's a track that builds, with swooning solos and a slow, creeping sense of hope that gradually rises above its otherwise melancholic tone. We'll argue this to our graves: "Upper Hand" stands tall as one of Pearl Jam's absolute best tracks.

Ah, a bona fide classic. And for us, Rufus & Chaka Khan's "Ain't Nobody" isn't just a timeless groove; it's practically a compulsory initiation ritual for any new audio gear that dares to cross our threshold.Why? Because this funk masterpiece is a merciless drill sergeant for a product's grasp of rhythm, timing, and dynamics. You've got that taut, textured bassline, the utterly snappy drums, and then there's Chaka Khan's voice – a force of nature in itself. Every element, from the power and tension to the sheer drama of the song, needs to fuse together in perfect, funky harmony. If it doesn't, your new gadget is clearly slacking.It’s a truly magnificent test of how well a product handles low-end grunt, how it precisely knits together rhythmic elements, and crucially, whether it has enough detail to reveal every glorious nuance in the Queen of Funk's iconic delivery. If your system can't bring the funk here, frankly, it can't bring the funk anywhere.

Every now and then, you hear a track that just screams "test me on a proper system." For us, it was this version of Florence + The Machine's "Cosmic Love". We heard it first on less-than-ideal speakers and immediately knew it deserved the full hi-fi treatment. And listening to it on our reference setup? Absolutely no regrets.This isn't just any "Cosmic Love." This is the BBC Proms rendition, performed at the hallowed Royal Albert Hall to celebrate 15 years of Lungs. And there’s something truly magical about the collision of a full orchestra, a booming choir, that iconic venue, and Florence Welch’s utterly captivating voice. The result is a vibrancy and raw energy that's practically irresistible. The entire arrangement is immense, a sprawling, joyous sonic tapestry where every element of the ensemble is seemingly on vivid display. Yet, amidst the grandeur, there are moments of sublime intimacy – take the beautifully sweet-sounding harp that gently introduces the track. It's a gorgeous paradox. Consider this your ultimate litmus test for detail and dynamics. If your system can capture both the colossal scale and the delicate whispers of this performance, you've got yourself a winner.

By all accounts, Larry Heard & Mr. White’s "The Sun Can’t Compare" simply shouldn't work. Yet, defying all logic, it absolutely does. Heard and White cast a ridiculously wide net here, pulling in dreamlike, vaguely hippyish lyrics, scattershot drums straight from early hip-hop's Beat Street era, and soaring synths – all underpinned by a pulsating, insistent acid-house beat. It’s a glorious, perplexing sonic mash-up. If your system or headphones can wrangle all these disparate elements into a cohesive, enjoyable whole, then congratulations. You've got yourself a true all-rounder, capable of handling just about anything you throw at it.

Buried deep at track 15 on Beyoncé’s 2024 Cowboy Carter album lies an absolute gem: "Just For Fun." This duet with Willie Jones is something of a quiet storm, blossoming from sparse beginnings into a wonderfully satisfying, full-throated blend of gospel-tinged country. The song's lyrics spin a tale of perseverance, backed by slick yet uncluttered production. Of course, it helps that the vocal performances are nothing short of superb. Beyoncé delivers raw passion and conviction, seamlessly complemented by Jones’s subtler, nuanced approach. This is a truly stellar recording that sounds luxuriously bold and full-bodied. Voices and instruments come through with impressive solidity, their dynamic integrity perfectly intact. Played on a good system, there should be no hint of harshness, edge, or aggression; just pure, unadulterated musical bliss.

Here's a curveball for your shiny new kit: a decade-old banger that simply refuses to phase away. We're talking Bombay Bicycle Club's "Luna." For some of us, it was love at first listen back in 2014, soundtracking virtual races in Forza Horizon 2. It's been a warm, deeply nostalgic earworm ever since.But more than just a trip down memory lane, "Luna" is a surprisingly perfect test track for soundbars, AVRs, and speakers. It’s a masterclass in dynamic variation, starting with a whisper before erupting into thunderous drums and layers of gorgeous vocal harmonies. And don't let its warmth fool you; the arrangement is deceptively complex. You've got sparkling strings, rich, inviting vocals, and a wonderfully punchy baseline driving the whole affair. Crucially, the raw, natural feel of the recording adds a texture that practically demands a detailed set of headphones or speakers to truly appreciate. Frankly, if whatever we're testing can't capture the sheer grandeur and emotional sweep of "Luna," then it's simply not up to snuff. Back to the drawing board.

Ah, the mid-’80s. A time when two titans, Earth, Wind & Fire's Philip Bailey and Genesis's own Phil Collins, decided to join forces and unleash an absolute synth-pop banger upon the world: "Easy Lover." But beyond its undeniable catchiness, this track is a secret weapon in our audio testing arsenal. Why? Because of that initial, glorious fanfare of noise – drums, synths, keys all bursting forth. This intro is a brutal test for treble quality. On anything less than stellar kit, it can quickly devolve into a splashy, unpleasantly bright, ear-stabbing mess. A good pair of speakers or headphones, however, will relay that sparkly, electronic-tinged opening with all its intended shine and lustre, yet still reveal a surprising amount of subtlety and texture. Crucially, it will do so without making you wince or instinctively dive for the volume knob. If your system passes the "Easy Lover" intro test, consider it a clear sign of refined high-frequency handling.