Tim Very, the drummer for Manchester Orchestra, has died. The Atlanta, GA indie rock band announced the news on social media today. No cause of death has been provided. Very was 42.
The post Manchester Orchestra Drummer Tim Very Dead At 42 appeared first on Stereogum.
The Hungarian band Tormentor is widely regarded as a pioneer of Eastern/Central European black metal. Their debut album, Anno Domini (1988), achieved cult status despite […]
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“Metal rules because it’s raw, it’s authentic, and no matter what country you’re in, you’re always among family.” In our latest feature, we hear from […]
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The .
The post The Far Worst’s new album ‘Vicious Cycle’ now available first appeared on Sleaze Roxx.
Yeesh. Since all 3 trillion Epstein files have been released, we’ve been seeing some names we possibly weren’t expecting to see (but, such is life when everyone with power and money is a creep or creep-adjacent). Just look at Wasserman Media Group CEO Casey Wasserman as an example. A big name in entertainment, Wasserman has definitely received mucho de flacko since his name was discovered amongst all the other pervs-by-proxy, so he’s made the very smart decision to just shut the agency down.
Wasserman said the following, as reported by Deadline:
“Team:
“I wanted to write to you all directly to share a few important updates. Over the past couple of weeks, I have spoken to many of you directly – and I wish I could have spoken with each and every one of you because you all have put your hearts and souls into this incredible organization.
“First and foremost, I want to apologize to you. I’m deeply sorry that my past personal mistakes have caused you so much discomfort. It’s not fair to you, and it’s not fair to the clients and partners we represent so vigorously and care so deeply about.
“The pain experienced by the victims of Jeffrey Epstein and Ghislaine Maxwell is unimaginable – and I’m glad, as I’m sure you all are, that those who helped them commit their crimes are rightly being held accountable.
“Hopefully by now you know the facts about my limited interactions with those two individuals. It was years before their criminal conduct came to light, and, in its entirety, consisted of one humanitarian trip to Africa and a handful of emails that I deeply regret sending. And I’m heartbroken that my brief contact with them 23 years ago has caused you, this company, and its clients so much hardship over the past days and weeks.
“Other than my children and my fiancée, there are two things that matter most to me in this world: this company that I founded 24 years ago, and the dream I’ve pursued for more than a decade of bringing the Olympic Games back to the city I love.
“This organization, its leadership and the entire team mean the world to me. Our 4,000 employees are the absolute best in the business. I see you put it all on the line for your clients every day. Our clients expect – and deserve – world-class representation. And that’s exactly what they get because of all of you.
“At this moment, I believe that I have become a distraction to those efforts. That is why I have begun the process of selling the company, an effort that is already underway. During this time, Mike Watts will assume day-to-day control of the business while I devote my full attention to delivering Los Angeles an Olympic Games in 2028 that is worthy of this outstanding city.
“I so appreciate the passion and fight you bring to your jobs. It’s why you succeed.
“I’m beyond proud of what this company has accomplished to date and excited to watch its next chapter.
All my best,
Casey”
Many artists have spoken out since, including Dying Wish, Hot Mulligan, Dropkick Murphys, and more. You can read their statements below.
Dying Wish:
“Recently we have been made aware of some staggering connections between the CEO of Wasserman and Jeffrey Epstein. From the moment we heard these sickening allegations we knew without a doubt that we were going to remove ourselves from any association to the Wasserman name.
“The only person who has represented us since 2019 is Jake Zimmerman. Jake has believed in this band when nobody else did and he is someone we are proud to call our friend.
“We trust Jake and our team to make the right decisions moving forward. This process has taken time and that has been uncomfortable but we believe it will honor our demands, what we stand for and the community we share.
“We are horrified at this situation and our hearts go out to all survivors as we navigate this together. Music belongs to us, not the executives.”
Hot Mulligan:
“The founder of our booking agency, Casey Wasserman, has been implicated in the Epstein files. We would like to make it clear that we stand with the victims of Epstein’s abuse and trafficking and have no personal ties to Casey Wasserman himself.
“At this time we are allowing our booking agents-who also do not have personal relations with Casey Wasserman—to figure out their next moves. Rest assured that we will no longer be affiliated with the company if Casey is still in the picture.”
Dropkick Murphys:
“Dropkick Murphys have parted ways with the Wasserman Music agency.
“We love our agents. They are great partners. We signed with them years before they merged with Wasserman.
“It saddens us to part ways with them, but the namesake of the agency is in the Epstein files so… we GONE.”
Split Chain:
“Since the information that Casey Wasserman has been involved in the Epstein Files we have been trying to figure out what that means for us as a band. For those who don’t know, we are represented by Wasserman, the agency, for our show bookings. However, we have never had any interaction with the CEO (Casey Wasserman) or any higher ups in the company and we signed with our respective agents solely (who don’t have any relationship with C.W either). We don’t want to be under any person that contributes and is a part of something we as people would never tolerate. We stand with any and all survivors and victims within the Epstein files and we want to give our agents time to figure out the next steps. We hope other artists, especially within our scene, will understand the severity of this and stick together to make sure this scene is a safe place for all. We will keep everyone updated as soon as we know anything further. Thank you for your time and patience. SC”
grandson:
“Around any artist is a sea of people helping us hold onto our vision and talent while we navigate the murky, ever changing waters of the entertainment industry. In exchange for profiting off of and exploiting our talent, we entrust this sphere of booking agents, managers, lawyers, streaming services, social media platforms, touring professionals and record executives to move through spaces on our behalf with some modicum of integrity and honesty, knowing they reflect directly back on us as talent. And as more and more power is consolidated, the wealthiest and most well connected figureheads at the top of these institutions continue to appall us, entrenching their power and daring us as artists to find different ways to connect with our audiences.
“This weekend in a new leak it was discovered the founder of a prominent US booking agency, whom I have had no direct contact with but who employs some of the people booking my festivals and tours behind the scenes, is directly implicated in the Epstein files for his longstanding relationship with Ghislane Maxwell.
“Like so many others, it makes me feel violated as an artist, and goes against everything I have built my career on.
“As such I join the chorus of calls for Casey Wasserman to step down, the company to immediately change name and leadership structure, as well as make a donation to survivors of domestic and sexual abuse.
“Out of respect for the employees at the company who are not involved whatsoever and who Ive now worked with for years I gave this a couple days to see how aggressively the company would respond and have been disappointed by the glaring sanitized silence we as artists have been offered. These changes would represent just a start to repairing some of the damage this company and their leadership has done to the music community within the building.
“Just as my fans put trust in me, I put trust in the professionals around me, and that trust has been broken.”
The post Casey Wasserman to Sell Wasserman Media Group Due to Epstein Controversy appeared first on MetalSucks.
ZiiGaat emerged on the audiophile scene relatively recently, but the company has quickly established itself as a serious player in the hybrid IEM market. Founded with a focus on combining cutting-edge driver technology with accessible pricing, ZiiGaat has built its reputation on models that don't compromise on build quality or sonic performance.
The brand's collaboration-forward approach has proven particularly successful. Working with respected reviewers and audio enthusiasts, ZiiGaat has developed a lineup that addresses real-world listening needs. This philosophy has resonated with both audiophiles and gamers seeking IEMs that excel across multiple use cases. Known for highly popular IEM models like the Horizon and Odyssey series, ZiiGaat returns with their latest Gen 2 release.
The original ZiiGaat x Fresh Reviews Arete became a cult favorite among gaming enthusiasts and bassheads alike, selling tens of thousands of units worldwide. Its blend of punchy sound, gaming-focused tuning, and competitive pricing made it a go-to recommendation in the hybrid IEM space.
The Arete II builds on fan feedback from the original; this second-generation model addresses previous shortcomings while amplifying what made the first version successful. With the same 1DD + 4 BA driver setup as the original, this time around, ZiiGat has redesigned their dynamic driver utilizing a second-generation composite diaphragm. In addition to the dynamic driver, the Arete II has 4 balanced armature drivers with 2 Knowles ED 29689 drivers covering the midrange and 2 Knowles SWFK 31736's covering the treble.
At $279, the Arete II brings a new bass boost switch feature and changes the aesthetic of the shell quite significantly. Let's see how the Arete II compares to the original.
The Arete II has a pretty standard ZiiGaat unboxing experience. It comes with a small box with a custom cover sharing some information on the IEM. After opening, you are greeted by the Arete II and a few small compartments to open. I would say the unboxing experience is about average for the price.
Overall, you get a solid accessory package with the Arete II. The included ear tips provided an ideal fit for me, and I didn't need to use 3rd party options. The modular cable terminations are always great for changing between 3.4 and 4.5mm uses. The cable is thin and lightweight, but still manages to feel sturdy and has a sleek, polished feel to it.
The leather carrying case is the same one included in the Odyssey 2, and I actually really like this case. It has more space than most cases and is definitely durable enough to protect your headphones.
The moment you unbox the Arete II, it's clear that ZiiGaat spared no expense on build quality. Each earpiece is individually CNC-machined from solid aerospace-grade aluminum blocks. The result is a shell that feels substantial without being heavy, with perfectly smooth edges and shining surface finishing.
The attention to detail extends beyond mere aesthetics. The aluminum construction serves multiple purposes: it provides excellent durability for daily use, acts as a natural acoustic dampener to reduce unwanted resonances, and gives the IEMs a slight heft that inspires confidence. The faceplates continue the metal theme, featuring a brushed aluminum finish that catches light beautifully. Available in red or blue colorways, the Arete II makes a visual statement.
One clever design element is the bass switch, positioned discreetly on the outer shell. Unlike some implementations that feel like afterthoughts, this switch clicks satisfyingly into place and stays firmly set during use. It's easy enough to toggle with your fingernail (even while wearing the earbuds), but won't accidentally flip during normal handling.
ZiiGaat includes a high-quality silver-plated oxygen-free copper cable with interchangeable 3.5mm single-ended and 4.4mm balanced terminations. The cable itself strikes an excellent balance between suppleness and durability, with minimal memory effect and effective strain relief at key connection points. The 0.78mm 2-pin connectors are industry-standard and feel secure without being overly tight.
Nozzles feature three precisely-machined bores, protected by removable metal grilles that prevent debris infiltration while maintaining acoustic transparency. The nozzle length is slightly longer than average, which some users with very shallow ear canals may find uncomfortable, but the trade-off is improved sound isolation and bass seal.
The Arete II's bass response is where the second-generation dynamic driver truly shines. ZiiGaat equipped these IEMs with a 10mm driver featuring a liquid silicone suspension diaphragm—a material choice that combines the compliance needed for deep bass extension with the rigidity required for controlled transients.
With the bass switch off, the Arete II delivers a moderately elevated bass response that emphasizes sub-bass rumble over mid-bass punch. This tuning choice creates an interesting sonic signature: electronic music and hip-hop tracks benefit from that visceral low-end presence, while the relatively leaner mid-bass keeps things from sounding bloated or muddy.
Engage the bass switch, and you're in entirely different territory. The lower frequencies receive a significant boost—approximately 5dB according to measurements—transforming the Arete II into a basshead's delight. The enhanced response doesn't just increase quantity; it shifts the emphasis toward mid-bass as well, adding punch and slam to kick drums and bass guitars. For gaming, this switch position delivers the rumbling explosions and gunfire effects that competitive players crave. I preferred the switch on during most songs, but during songs that are mixed with a lot of bass already, the extra bass can cause some muddiness. Fortunately the bass switch is easy to flip on/off and during bass-heavy songs I could conveniently turn it back off.
The overall quality of the bass is impressive regardless of the switch position and I love that ZiiGaat gave the listener the option to change it on the fly. Attack is snappy enough to prevent the low end from dragging behind the rest of the frequency range, while decay feels natural rather than truncated. Bass notes have genuine texture—you can hear the resonance of acoustic bass strings and distinguish between different kick drum samples.
Powering the midrange are dual Knowles ED 29689 balanced armature drivers, a time-tested configuration that's appeared in countless successful IEMs. These drivers handle the crucial 300Hz to 3kHz range where most vocals and many instruments live.
The Arete II's midrange presentation has a good sense of clarity and detail retrieval while creating a sense of warmth and smoothness to the overall sound. Vocals sit forward in the mix with excellent intelligibility and I found both male and female vocals to have a good sense of emphasis that is suitable for pop or any other vocal-centric genre.
Acoustic guitars have precise string articulation, pianos sound clean and well-defined, and orchestral arrangements maintain good separation between string sections. Overall the midrange presents clearly with a good level of smoothness that makes most genres a pleasure to listen to.
The upper midrange around 3kHz receives a carefully tuned peak that enhances presence and prevents vocals from recessing behind the bass and treble. ZiiGaat walked a fine line here: boost this region too much, and you get shouty, aggressive vocals; boost it too little, and everything sounds veiled. The Arete II generally nails this balance, though particularly energetic or compressed recordings can occasionally push into sharpness.
Dual Knowles SWFK 31736 balanced armature tweeters handle treble duties, extending response well beyond 20kHz. This region is where the Arete II distinguishes itself from many competitors, offering substantial air and sparkle without crossing into harsh or sibilant territory for most listeners.
Lower treble around 5-8kHz provides excellent detail retrieval and contributes to the Arete II's impressive sense of resolution. Cymbal crashes have realistic shimmer, hi-hats cut through dense mixes cleanly, and the leading edges of notes snap with satisfying definition.
Upper treble extension is quite impressive for the price point. The sense of air and openness in the highest frequencies contributes significantly to the Arete II's spacious soundstage presentation. String instruments have natural overtones, and there's a palpable sense of acoustic space in well-recorded tracks.
The Arete II's timbre leans slightly warm. Even though the Arete II has a thick, smoothness to its sound–particularly with its heavy bass performance—individual instruments are rendered with impressive detail and accuracy. Acoustic instruments like violins and cellos sound precise and well-defined.
Where the Arete II truly excels is soundstage width and imaging precision. The spacious presentation extends well beyond the confines of your head, creating an immersive listening experience. Orchestral recordings spread instruments across a wide stage with excellent left-to-right separation. The sense of depth is less impressive than the width, but still above average for closed-back IEMs.
Imaging is exceptional. In competitive gaming scenarios, this translates to pinpoint footstep tracking in titles like Call of Duty or Valorant. For music listening, you can easily identify exactly where each instrument sits in the mix, making the Arete II excellent for analyzing complex arrangements.
The combination of spacious staging and precise imaging makes the Arete II a technical standout in its price category. These qualities don't just benefit gaming; they enhance any listening scenario where spatial awareness matters, from binaural recordings to surround-processed movie soundtracks.
ZiiGaat clearly prioritized ergonomics when designing the Arete II's shell shape. The contoured aluminum bodies nestle comfortably in the concha of your ear, with weight distribution that prevents fatigue during extended listening sessions. For users with average to large ears, the fit should prove universally comfortable. However, the Arete II's slightly larger shells and longer nozzles may cause minor pressure points during longer listening sessions in people with smaller ears.
The included silicone ear tips provide a secure seal and come in three sizes to accommodate different ear canal dimensions. The wide-bore design maintains acoustic clarity while providing sufficient isolation for most environments. Passive isolation is above average.
One comfort note: the aluminum shells can feel cold against your ears initially, particularly in air-conditioned environments. They warm to body temperature quickly, but it's worth mentioning for those who live in colder environments.
Arete II is the refined, technically superior evolution. It delivers tighter bass control, better mid-range clarity, and noticeably improved resolution across the frequency spectrum. The original Arete has a slightly warmer, more forgiving low-end with more mid-bass bloom, while Arete II cleans up that region for faster transients and better separation.
The midrange is where the leap becomes more obvious. Arete II pushes vocals and guitars forward with better definition and less veil. You get sharper instruments and a more articulate vocal delivery. Arete's mids are pleasant but slightly laid-back by comparison, which can make busy mixes feel congested at points.
Treble extension and air are improved on Arete II. It gives you that open, expansive ceiling without crossing into harshness—cymbal crashes have better decay and more realistic shimmer. The original Arete has good treble but feels slightly more rolled-off up top, trading some sparkle for safety.
When comparing soundstage and imaging, the Arete II wins as well. It presents a wider, deeper stage with more precise instrument placement.
If you already own the Arete and love it, you're not missing out dramatically—but if you're deciding between the two, Arete II offers noticeably better technical performance for the $30 price increase.
The Simgot SuperMix 4 occupies interesting territory as a true "quadbrid" IEM, combining dynamic, balanced armature, planar, and piezoelectric drivers. At $150, it significantly undercuts the Arete II's price while delivering impressive technical performance that punches above its weight class.
The SuperMix 4 follows a Harman-inspired tuning that emphasizes sub-bass and upper treble while keeping mid-bass and lower mids relatively restrained. This creates a U-shaped signature that shares the Arete II's emphasis on extension at both frequency extremes but with less mid-bass punch and warmth.
In direct comparison, the Arete II offers superior build quality—the CNC aluminum shells feel significantly more premium than the SuperMix 4's resin construction. The Arete II also provides more impactful bass response, particularly with the switch engaged, and generally fuller mids that give vocals more weight and presence.
However, the SuperMix 4 counters with arguably better treble refinement and extension, thanks to its planar and piezoelectric drivers. Detail retrieval in the upper frequencies is exceptional for the price, and some listeners may prefer its airier, more spacious top-end presentation.
For gaming, both excel, but the Arete II's bass switch gives it the edge for action titles. At $130 less, the SuperMix 4 represents exceptional value, but the Arete II justifies its premium with superior build, more versatile tuning, and better bass performance.
The ZiiGaat Arete II succeeds at its ambitious goal: creating an IEM that excels at competitive gaming without sacrificing musical enjoyment. It's not perfect—the slightly lean midrange tuning won't suit everyone, and treble-sensitive listeners may find extended sessions fatiguing. But for its target audience of gamers who also appreciate high-quality music playback, the Arete II delivers in spades.
What sets the Arete II apart is its combination of flagship-level build quality, impressive technical performance, and genuine versatility. The bass switch isn't a gimmick—it meaningfully transforms the sound signature to suit different content.
At $279, the Arete II sits in a competitive price bracket where every IEM needs to justify its existence against strong alternatives. It does so through superior build quality, excellent imaging for gaming, and bass performance that can be tailored to your preferences. While audiophile purists seeking the most organic, natural timbre should look elsewhere, gamers and detail enthusiasts will find the Arete II an excellent investment.
If you prioritize soundstage width, imaging precision, and exciting bass versatility, the ZiiGaat Arete II deserves serious consideration. With the Arete II, ZiiGaat hits an enticing sweet spot between gaming performance and musical engagement.
Following two demos, a split and their wicked recent MLP, Chilean heavy metallers Asedio return with their debut full-length album! Out via FHM Records on 20th February (with vinyl a bit later, to be released at Keep It True Festival on 24th April).
Melodic guitars and thundering bass lines waste no time in launching a lively array of heavy metal magic into the stratosphere. The pummelling drums and wicked riffing adds to the onslaught of instrumental battery as powerful vocals soar atop the mix with a commanding presence. The complete mix is tight, refined and powerful with a modern presentation of a classic heavy metal sound. Chile has many phenomenal bands and ever since discovering Asedio from blind-buying a split cassette of them and their countrymen Hemisferio at the original Crypt of the Wizard in London, I had kept an eye out for more material. Last year we got the “La Interminable Lucha” EP and now only a year later, they are back with a full length debut. Clearly inspiration is flowing freely. Back to the review, the ripping guitar solos and intricate bass lines perfectly complement some excellent riffing and give us a memorable attack of highly skilled and tradition-fuelled metal mayhem. Blending this epic and triumphant assault with some melancholic moments; there is such a potent sense of passion and great delivery in the moods on this record. From its opening I am thoroughly impressed.
Those moments of crushing guitar riffs where the bass takes a lead role are sublime, stoking the fires of Iron Maiden’s masterful dynamics while the drumming battery and enchanting vocals give Asedio a sound totally their own. That mystique of the lyrics being in a language I do not speak leaves them functioning more as a fourth instrument, which boosts the obscure feelings of the record and allows me to simply enjoy how ferociously magnificent everything sounds on a musical level. There is a wildness and yet the playing is refined, it really feels like the band have found their footing and a lot of confidence that builds upon their past works. I’ve enjoyed them from the demo material and hearing that bloom into something so wonderful is a real pleasure. There are plenty of changes on this record to keep you gripped; from the pounding mid tempos to the speeding attacks. Nothing feels left out, with every musician getting to show their chops but ultimately keeping things moving so the power of the songs is never lost. These songs are so well paced that you will get immersed in the adventure easily.
Sometimes an album is so enjoyable on so many levels you do not want it to end. The beauty of this one being a shorter LP is that you can just listen to it again! In only 36 minutes we get a diverse array of superb ideas and each of the eight tracks is worth its place. Conveying heroic moods and sword-swinging conquests; Asedio take us on their boldest journey yet and do so marvellously. Harkening back to when rhythm sections felt like they were charging you down and solos soared like eagles alongside battle-cry vocals with their own personality; be part of the “Confrontación Heroíca” or prepare to face defeat by steel. Beating with a united sense of glory, the band take you to the peak of the mountain on this foe-slaying voyage that is exhilarating from start to end. Do not hesitate to experience this for yourself if you love classic heavy metal.
Another blasting bout of melodic and powerful heavy metal from Asedio. These Chilean headbangers sure know how to give the public what they want, a band whose impassioned and classic music is presented at its strongest yet on their debut long-player. Taking charge from Spanish-sung bands like Muro and Goliath and mixing it with that unmistakable South American fire, this is certain to appeal to underground metallers with a love for the obscure gems that still have an easy-on-the-ear sound and killer songs to boot. Another gem of underground metal might from a far off land that I am grateful to have discovered all those years ago and I am even more glad to hear the growth from these maniacs.
Rating: 8 out of 10.
INTERVIEW WITH CAELESTIA Caelestia, hailing from Greece, delivers melodic death metal infused with symphonic elements. The band has been active since 2014 and has […]
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