Inxs - Kick -2011- -flac 24-192- ❲2025❳

: This remaster breathes new life into the album's dense, rhythmic production. Tracks like "Need You Tonight" and "New Sensation" benefit from an increased dynamic range, allowing the sharp, staccato guitar riffs and Chris Murphy's production to pop without the "brickwalled" compression found in early CD releases.

The has the highest consistent dynamic range score (DR14) while retaining the tonal balance of the original analog master. It is neither too bright (like the 2008 DVD-A’s stereo fold-down) nor too flat (like the streamed versions).

When people talk about the definitive sound of the late 80s, they aren't just talking about synthesizers and big hair—they are talking about the lean, funk-infused rock precision of INXS. While Kick was originally released in 1987, the represents the absolute pinnacle of how this album can be experienced. INXS - Kick -2011- -FLAC 24-192-

The band, led by the enigmatic Michael Hutchence and the musical direction of Andrew Farriss, refused. They stood their ground, betting on their blend of white funk, rock, and blues. The result was an album that defied the synthetic trends of the mid-80s. It wasn't over-produced; it was organic, punchy, and raw. It produced four Top 10 US singles ("Need You Tonight," "Devil Inside," "New Sensation," and "Never Tear Us Apart") and sold over 20 million copies.

To understand the value of the 2011 FLAC release, one must first appreciate the source material. By 1987, INXS was at a pivotal juncture. Their previous album, Listen Like Thieves , had yielded a US Top 5 hit, but the band felt they hadn't quite cracked the code on a cohesive global breakthrough. When they presented Kick to their label, Atlantic Records, the executives were initially hesitant. They didn't hear a hit. They wanted the band to go back and rewrite the album. : This remaster breathes new life into the

The 2011 version of Kick was part of a deluxe reissue campaign that celebrated the album’s legacy. In the audiophile community, remasters are often viewed with skepticism. The "Loudness Wars

Perhaps the most poignant effect of the 24/192 remaster is its impact on timing. The hallmark of INXS was the “push-and-pull” between the rigid drum machine (on tracks like “Need You Tonight”) and the loose, human swing of the rhythm section. At 44.1kHz, this interplay sounds like clever editing. At 192kHz, with its ability to resolve transients measured in microseconds, you hear the actual struggle . You hear Jon Farriss’s hi-hats flamming slightly against the programmed beat; you hear the musicians leaning into the click track, fighting it, then surrendering. This is not a flaw. It is the source of the album’s nervous energy. The high-resolution format does not make Kick sound more “real” (it is far too synthetic for that). Instead, it makes the performance of the production audible. It is neither too bright (like the 2008

The most immediate revelation in the 24/192 transfer is the low end. For decades, Kick was mastered for CD and cassette with a heavy hand on the equalizer, prioritizing mid-range punch for car speakers. The high-resolution FLAC, however, treats bass frequencies with unprecedented respect. Garry Gary Beers’s bass guitar on “Mystify” is no longer a low rumble but a melodic lead; each fret slide and note decay is rendered with the clarity of a jazz recording. More importantly, the kick drum—the album’s titular heartbeat—acquires a spatial dimension. In 16-bit, it was a thud. In 24-bit, it is a physical event, with a clear distinction between the beater attack and the resonance of the shell. This dynamic headroom proves that Kick was always a funk album trapped in a pop star’s body.