My first encounter with the concept of high-end cables was back in the late '70s. The music store where I worked had a stereo department that sold what was considered nice stuff at the time - McIntosh, Bozak, Sony, Thorens, Advent, etc. We started selling a couple of items from this new company called Monster Cable. Their main thing was the now-classic (and these days mostly rotted greenish-brown) big fat speaker cable, with the 10 AWG stranded wire in the clear vinyl zip-cord jacket. Our stereo sales guy swore by the stuff; to be honest, I never paid much attention to it.
Their RCA interconnects on the other hand got a more spirited response from us techs back in the shop, mostly in the form of jokes and derision due to the fact that several customers wound up bringing them back to us for repairs! It turns out they were made from some type of TV antenna coax cable (probably RG59) which of course has a solid center conductor, so they were very susceptible to breakage at the connector ends.
Apart from the solid-wire issue, the TV coax idea wasn't completely misguided. This type of coax cable has low capacitance per foot, which is a factor not to be ignored at radio frequencies. But with any reasonably-constructed, normal-length, "line-level" audio cable, capacitance is usually not a factor.
There is a larger picture here, which is unfortunately not covered by the ASR review: the end result is not completely due to the cables, but also the
interaction between the cables and the equipment connected at each end of them! There have been documented examples of cables having an effect on the sound of certain setups. usually involving equipment having too-high output impedance or too-low input impedance (or both). Unfortunately this sort of unconventional circuitry is mainly found - you guessed it - in high-end, boutique audio gear. Mix some of that stuff in with some of these weird cable geometries, and you have a recipe for muddy water indeed. But some folks do like to experiment with different seasonings, heh.