Good Day Noir Family,
Listening to Every Other Weekend’s single Memories for the first time is like opening a box you forgot existed, then realizing why you kept it.
Memories is Every Other Weekend’s Single Out Now
A warm acoustic strum sets everything in motion, and the song establishes a human, lived-in tone.
There is a clear melodic sensibility here that recalls the late-’90s era when songs aimed for emotional honesty. The atmosphere brings to mind the reflective side of Counting Crows, especially in the way the melody lingers after each phrase. Memories never feels like a copy. It uses that familiar language to tell a personal story in its own voice.
As the arrangement unfolds, the rhythm settles into a gentle but steady flow. The song never feels static. Small dynamic shifts keep it alive, while the acoustic foundation remains central. The performance carries a sense of sincerity; the emotions come across as genuine, not overstated.
Lyrically and musically, Memories works like a collection of faded photographs. Each section reveals another image, another moment, another feeling that once mattered deeply and still does in quiet ways.
There is also a strong feeling of freedom running through the track. Not freedom in a loud or rebellious sense, but the calm release that comes from remembering without regret. Meanwhile, the production stays grounded and organic. Nothing feels over-processed, and that choice reinforces the emotional weight of the song.
Memories leave behind a soft echo rather than a dramatic conclusion. That restraint works in its favor. Every Other Weekend delivers a track that feels timeless, the kind of song that could have lived comfortably on late-night radio or MTV rotations at the end of the ’90s. It is reflective, sincere, and quietly confident in its own skin.
Memories is Every Other Weekend’s Single Out Now!
Nostalgic!
Memories is Every Other Weekend’s Single Out Now
Every Other Weekend is the musical project of Chris Bull, former frontman of Manchester indie rockers City Reign.
After the loss of his father and musical mentor in 2015, the breakup of the band in 2016, and a major life shift soon after, Bull’s relationship with songwriting quietly unraveled—tied too tightly to memories that suddenly hurt to revisit. Relocating back to his native London marked a reset. Slowly, hook by hook and lyric by lyric, the joy of writing returned.
Every Other Weekend’s debut album, All Present and Inept, due in 2026, captures that long road back to making music for the right reasons. Memories is the second single from the record.
Good Day Noir Family,
Listening to Karen Salicath Jamali’s Angel Sandalphon – The Angel of New Beginnings is like walking into a quiet space where time loosens its grip.
Angel Sandalphon – The Angel of New Beginnings is Karen Salicath Jamali’s Single Out Now
The piece opens with piano tones that shine and linger, clear and refined, as if each note has been placed with care rather than force.
The atmosphere suggests renewal. Still, it never rushes to announce that idea. It allows the listener to arrive naturally.
The melodic line moves forward with calm confidence. The pacing is intentional, almost ceremonial, as if the music invites reflection rather than reaction. Because of this restraint, the emotional pull becomes stronger. The piano resonates with a brightness that suggests open skies and soft light. At the same time, there is a gentle warmth beneath the clarity, which prevents the piece from feeling distant or cold.
Interestingly, subtle melodic turns evoke a faint sense of Japanese aesthetics. There is a simplicity here that recalls blossoming trees near Mount Fuji, where beauty emerges through balance and patience rather than excess. However, the music never leans on imagery too heavily. It creates space for the listener’s own inner pictures. The experience feels personal, even intimate.
As the composition develops, repetition plays a crucial role. Yet, it never becomes static. Small variations keep the flow alive, and each return to the main theme feels slightly transformed. Therefore, the idea of “new beginnings” takes shape not through dramatic shifts but through gentle evolution. The piano does not demand attention. Instead, it offers comfort and quiet strength.
What stands out most is the sense of healing embedded in the performance. The notes seem to settle the mind, encouraging slower breathing and focused listening. Meanwhile, the emotional depth remains accessible. This is music that meets the listener where they are, without judgment or urgency. It feels restorative rather than escapist.
By the final moments, Angel Sandalphon – The Angel of New Beginnings leaves a soft afterglow. The ending does not close a door. It suggests continuation. Ultimately, Karen Salicath Jamali delivers a piece that feels timeless, rooted in something ancient yet fully present. It is music that nourishes the spirit and reminds us that renewal often arrives quietly.
Angel Sandalphon – The Angel of New Beginnings is Karen Salicath Jamali’s Single Out Now!
Healing!
Karen Salicath Jamali is a multi-award-winning composer, pianist, producer, and visual artist, born in Denmark and based between New York City and Florida. After a near-death experience in 2012, she began receiving music through her dreams, shaping a deeply intuitive and healing creative practice.
This 2026 release marks a new chapter in collaboration with EMPIRE and publisher KOSIGN, powered by Kobalt Music Group. With over 10 million streams and 100,000+ followers worldwide, her music continues to resonate globally, while her album Dreams of Angels airs on WWBA Classical FM USA.
Hard-hitting rock outfit CHEMICAL EMPIRE returns with a thunderous new single.
“This Isn’t Gonna End This War,” is fast, heavy, and unrelenting, built on chaotic energy that mirrors the volatility of a toxic relationship. The momentum never fully lets up, creating a constant sense of pressure and escalation as the conflict intensifies.
The bridge and solo serve as a decisive breaking point, delivering a moment of total impact that feels irreversible. Afterward, the song briefly pulls back into a controlled, crushing outro, where the chaos settles into acceptance rather than resolution. The conflict may never truly end, but the decision to stop fighting becomes final.
Lyrically, the track captures the realization that moving on is not about winning or closure, but survival. It reflects the moment when walking away becomes the only way forward.
“I was working on music when my girlfriend came into the room and completely set me off. As soon as she walked out, the song basically wrote itself. All that tension and frustration went straight into the track.” – Matt Smith
Known for blending modern hard rock aggression with emotionally charged songwriting, CHEMICAL EMPIRE continues to sharpen it’s sound while refusing to dilute the message. “This Isn’t Gonna End This War” delivers a relentless sonic punch, pairing stadium-sized hooks with an underground edge that speaks directly to fans who crave authenticity and intensity.
BAND BIO:
CHEMICAL EMPIRE is an alternative metal project created by Matt Smith, built around fast, heavy music and emotionally driven songwriting. The project explores the darker realities of life, drawing from real experiences with conflict, isolation, and personal collapse.
Blending relentless aggression with controlled dynamics, CHEMICAL EMPIRE’S sound is intense and purposeful, balancing chaos with clarity. Lyrically, the music confronts toxic cycles, fractured relationships, and the realization that survival sometimes means moving forward rather than fighting back.
Rooted in honesty and emotional weight, CHEMICAL EMPIRE delivers heavy music that resonates with listeners who have lived through their own battles.
The release marks another bold step forward for the band, reinforcing their reputation as a rising force in the rock scene—unapologetic, unfiltered, and unwilling to back down.
“This Isn’t Gonna End This War” is available now on all major streaming platforms.
A band’s evolution has seldom felt so right. After 15 albums over a 30-year timeframe, Big Big Train’s twists and turns have resulted in a remarkable career featuring an ever-evolving cast of musicians. Having confidently achieved a stunning comeback with The Likes Of Us after the crippling tragedy of losing previous lead singer David Longdon, here we are two years later with the arrival of the natural next step: a concept album from a story-based band.
That Big Big Train haven’t specifically written a concept album before almost seems beside the point, so rich is the storytelling that runs throughout the band’s discography. Still, Woodcut is definitely taking the band to a new level, as band co-founder Greg Spawton shares that they genuinely saw the album as one entire piece: “In the studio, that’s kind of how we viewed it – seriously. It’s a single epic song from which other shorter songs can be pulled.”
Spread over 16 tracks, the whole album runs just over an hour to tell its story of the Artist and his psychedelic woodcut journey. While the run time isn’t quite on the scale of a classic prog double album, that might be for the best: it’s definitely a long ride you need to strap yourself in for, but it doesn’t become tiresome or indulgent. This is mostly due to the consistently high level of songwriting, arrangements, and performance. It’s simply one marvel after another. If anything, the songs only get better and better as the album progresses, ensuring that the listener is compelled to enjoy to the end.
Special appreciation needs to be given to the cohesiveness of the musicians and how collaborative a family this band has become. Lead vocalist Alberto Bravin is the ringmaster, taking over the daunting production duties, but it truly feels like a group effort throughout, much to everyone’s credit. The songwriting is shared by a wide swath of the band, sometimes individually and often collaboratively. Lyrics were also a shared effort all around, with violinist Clare Lindley coming more to the fore to pen many of the words.
Vocally speaking, the album shines with lush harmony arrangements that make the most of all 7 members singing. Everyone gets a lead vocal spot at some point, too, even the usually reluctant Spawton. While Bravin still carries the album with his artful tenor voice, key lines are given to other members like Rikard Sjöblom’s striking cameo lead on “Dead Point”. Backing vocal harmonies are also rich and abundant, often breathtaking, like at the end of “Chimaera”. There’s even some Gentle Giant-style vocal interplay, like Neal Morse is fond of exploring.
On the instrumental side, everyone gets their areas to shine. Rikard Sjöblom now covers the bulk of the electric guitar, and his solos are extraordinary throughout the album, such as on “Light Without Heat” and “Counting Stars”. Clare Lindley’s violin has found a perfect sweet spot in the mix, from the lilting grandeur of “Arcadia” to a more searing tone at the end of “The Sharpest Blade”. Elaborate keyboard performances run rampant throughout the album, and while four musicians are listed on keys, we can credit Oskar Holldorff as the main genius behind this role.
I suspect that Bravin contributed a good deal to backing guitars and keyboards during the recording process, both stemming from his pervasive songwriting credits, and delivering the finishing touches as producer. Only the newest member, Paul Mitchell on trumpet, seems to be underutilized on the album. Although occasionally adding nice flourishes to some of the arrangements, his involvement here would seem to suggest he’d be listed as a guest musician rather than a full-fledged member.
Of course, Nick D’Virgilio remains BBT’s drummer extraordinaire, and he packs a punch throughout this odyssey. The thrilling instrumental track “Cut And Run” is an NDV tour de force, continuing the tradition of excellent instrumentals from albums past like “Apollo”. Also holding down the rhythm section, Spawton’s bass playing has always been one of BBT’s very top strengths, and this holds true once again, whether it’s propelling forward the D’Virgilio burner “Warp and Weft” or laying down a more melodic groove on the gorgeous “Light Without Heat”.
This Big Big Train is on a roll and, almost unfathomably, keeps getting better and better. And although it’s true that the credit goes to the entire collective, there’s no denying that the band struck gold by choosing Bravin as their frontman. Little did they – or perhaps even he – realize how instrumental he would be behind the scenes as well. His songwriting, arranging, multi-instrumentation, producing, and sheer enthusiasm have undoubtedly helped gel the rest of the family together even more tightly than they might have imagined possible at this stage, and the results speak for themselves.
As the album’s lyrics conclude in the final thrilling song: “There’s gold in the skies. Find it, keep moving on.”
Release Date: February 6th, 2026 Record Label: Inside Out Music / English Electric Recordings Genre: Progressive Rock
Musicians:
Alberto Bravin / Lead vocals, acoustic and electric guitars, keyboards, Moog, Mellotron
Nick D’Virgilio / Drums, percussion, keyboards, acoustic and 12-string guitars, vocals
Oskar Holldorff / Grand piano, Wurlitzer and Fender Rhodes electric pianos, Hammond organ, Mellotron, synthesizers, vocals
Clare Lindley / Violin, acoustic guitar, vocals
Rikard Sjöblom / 6 and 12-string guitars, Hammond organ, vocals
WITH STONE TEMPLE PILOTS AND SPECIAL GUEST DOROTHY
General On Sale Begins Friday, February 6 at 10 a.m. Local Time at Ticketmaster.com
Multi-platinum rock titans Godsmack announced their massive GODSMACK — THE RISE OF ROCK WORLD TOUR 2026, a sprawling North American run featuring special guests Stone Temple Pilots and Dorothy. Promoted by Live Nation, the tour will bring Godsmack’s signature high-octane live show to amphitheaters nationwide.
The tour kicks off Sunday, May 10 in Bristow, VA at Jiffy Lube Live and makes stops across the U.S. and Toronto, Canada, including Austin, Chicago, Denver, Phoenix, and California, before wrapping Saturday, September 26 at Ford Idaho Center Amphitheater in Nampa, ID.
Known for their ferocious live shows and decades-long dominance at rock radio, Godsmack continue to raise the bar with a career-spanning set that celebrates their legacy while ushering in a bold new chapter — joined by two powerhouse acts that have helped shape modern rock’s past, present, and future.
TICKETS: Citi cardmembers will have access to presale tickets beginning Tuesday, February 3 at 10am local time until Friday, February 6 at 9am local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com. General onsale begins Friday, February 6 at 10am local time at Ticketmaster.com,
VIP: The “BulletProof” Experience is the ultimate Godsmack fan upgrade, featuring great tickets, priority venue entry, and an exclusive set of collectible VIP merch. Package highlights include a limited-edition 11×17 art print, Godsmack-branded guitar pick tin with picks, a three-piece skull enamel pin set inspired by classic album eras, and a commemorative VIP laminate and lanyard—your official pass to the tribe. Built for the diehards. BulletProof.
GODSMACK — THE RISE OF ROCK WORLD TOUR 2026 DATES
Thu May 7 – Daytona Beach, FL – Welcome to Rockville*†
Sat May 9 – Camden, NJ – MMRBQ
Sun May 10 – Bristow, VA – Jiffy Lube Live
Tue May 12 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Thu May 14 – Charlotte, NC – Truliant Amphitheater
Sat May 16 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
Sun May 17 – Columbus, OH – Sonic Temple*†
Tue May 19 – Franklin, TN – FirstBank Amphitheater
Thu May 21 – Alpharetta, GA – Ameris Bank Amphitheatre
Sat May 23 – Huntsville, AL – Orion Amphitheater
Sun May 24 – Orange Beach, AL – The Wharf Amphitheater
Wed May 27 – Irving, TX – The Pavilion at Toyota Music Factory
Fri May 29 – Austin, TX – Germania Insurance Amphitheater
Sat May 30 – Houston, TX – The Cynthia Woods Mitchell Pavilion Sponsored by Huntsman
Fri Jun 12 – Kansas City, MO – Morton Amphitheater
Sun Jun 14 – St. Louis, MO – Hollywood Casino Amphitheater
Tue Jun 16 – Grand Rapids, MI – Acrisure Amphitheater
Thu Jun 18 – Noblesville, IN – Ruoff Music Center
Sat Jun 20 – Tinley Park, IL – Credit Union 1 Amphitheatre
Sun Jun 21 – Clarkston, MI – Pine Knob Music Theatre
Tue Jun 23 – Burgettstown, PA – The Pavilion at Star Lake
Wed Jun 24 – Toronto, ON – RBC Amphitheatre
Sat Jun 27 – Wantagh, NY – Northwell at Jones Beach Theater
Sun Jun 28 – Holmdel, NJ – PNC Bank Arts Center
Tue Jun 30 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview
Thu Jul 2 – Mansfield, MA – Xfinity Center
Fri Jul 3 – Bangor, ME – Maine Savings Amphitheater
Sun Sep 6 – El Paso, TX – Speaking Rock Casino**†
Mon Sep 7 – Albuquerque, NM – Isleta Amphitheater
Wed Sep 9 – Denver, CO – JUNKYARD
Fri Sep 11 – Las Vegas, NV – Planet Hollywood Resort & Casino**†
Sat Sep 12 – Phoenix, AZ – Talking Stick Resort Amphitheatre – KUPD UFest*
Tue Sep 15 – Chula Vista, CA – North Island Credit Union Amphitheatre
Thu Sep 17 – Anaheim, CA – Honda Center
Sat Sep 19 – Mountain View, CA – Shoreline Amphitheatre
Sun Sep 20 – Corning, CA – Rolling Hills Casino and Resort**†
Tue Sep 22 – Bend, OR – Hayden Homes Amphitheater
Thu Sep 24 – Auburn, WA – White River Amphitheatre
Sat Sep 26 – Nampa, ID – Ford Idaho Center Amphitheater – KQXR XFest*
Kiwi Ears is a relatively young Chinese audio brand owned by Linsoul Audio. Since entering the budget IEM market, Kiwi Ears has built a solid reputation for delivering high-quality in-ear monitors that punch well above their weight class. The brand's philosophy centers on making audiophile-grade sound accessible to everyone, with most of its offerings sitting comfortably under $100.
The original Cadenza, released in 2022, quickly became a cult favorite in the budget IEM community, earning praise for its beryllium driver implementation and balanced tuning at just $50. Now, Kiwi Ears has returned with the Cadenza II, promising improved driver technology, upgraded materials, and refined tuning that aims to set a new standard for what's possible in ultra-budget audio.
What Is The Kiwi Ears Cadenza II?
The Kiwi Ears Cadenza II is an entry-level single dynamic driver in-ear monitor that represents an evolution of the beloved original Cadenza. At its core sits a newly developed titanium-coated PET (polyethylene terephthalate) diaphragm driver paired with a high-performance magnetic array structure. According to Kiwi Ears, this dynamic driver delivers their highest level of performance and resolution to date.
The Cadenza II features upgraded KARS 2.0 acoustic tuning technology, which has been meticulously redesigned to match the new titanium driver's characteristics. The result is a neutral yet engaging sound signature that aims to balance accuracy with musicality—a difficult feat at any price point, let alone at around $50.
The package includes the IEMs themselves, six pairs of ear tips in three sizes (including the highly praised wide-bore design), a 1.2-meter detachable cable with single-crystal copper construction, and basic documentation. While there's no carrying case included, the overall presentation feels more premium than the asking price suggests.
Unboxing
What's In The Box?
Kiwi Ears Cadenza II
Single-crystal Oxygen-free Copper Cable
3 x Standard Silicone Ear Tips (S, M, L)
3 x Wide Bore Ear Tips (S, M, L)
Build Quality & Design
The Cadenza II represents a significant upgrade in materials over the original model. Where the first Cadenza used 3D-printed medical-grade resin, the Cadenza II features a polycarbonate composite shell that Kiwi Ears claims is sturdier than standard plastic while maintaining a luxurious, velvet-like tactile experience.
I really like the aesthetic of the shells on the Cadenza II. The clean, minimalist style looks sleek and doesn't come across as cheap, which is a great touch on such an affordable IEM.
The included cable uses a 2-pin 0.78mm detachable system, which is standard in the IEM world and allows for easy cable replacement or upgrades down the line. The cable itself is composed of single-crystal oxygen-free copper wires, which promise crystal-clear signal transmission. Though it does feel like it could be on the more tangle-prone side of cables.
Sound Quality
Credit: Bad Guy Good Audio Reviews
Bass
The Cadenza II delivers a moderate bass response. The sub-bass extends decently with a slight preponderance that provides just enough rumble on bass-heavy tracks without overwhelming the rest of the frequency spectrum. Bass lovers accustomed to elevated low-end might find the Cadenza II a bit restrained, but this measured approach serves the overall tuning philosophy well.
Bass texturing is above average for the price bracket. The titanium-coated diaphragm ensures fast transient response, resulting in tight, controlled bass notes that decay quickly. This prevents mid-bass bleed—a common issue in budget IEMs—keeping the lower midrange transparent and clean. On tracks with rapid bass lines, the Cadenza II maintains good separation and articulation.
The bass quality shines on genres like jazz and acoustic music where bass instruments need to sit naturally in the mix without dominating. On electronic music or hip-hop, the Cadenza II performs well but might leave bass-heads wanting more physicality and presence in the low frequencies.
Mids
The midrange is the strongest frequency range of the Cadenza II. Kiwi Ears has tuned the mids with a subtle hump that enhances vocal warmth and lushness without sacrificing neutrality. Male and female vocals both benefit from this tuning, sounding natural, intimate, and emotionally engaging.
Instruments in the midrange exhibit excellent timbre—guitars sound like guitars, pianos sound like pianos, and there's minimal artificial coloration. This natural presentation makes the Cadenza II particularly versatile across genres. Whether you're listening to acoustic singer-songwriter material, rock bands with multiple guitar tracks, or classical chamber music, the midrange handles it with grace and authenticity.
The upper midrange around 3kHz has been carefully tuned to provide clarity and detail without straying into harshness or sibilance. Some budget IEMs overemphasize this region, leading to fatigue during extended sessions, but the Cadenza II strikes a more balanced approach. Vocals sit forward in the mix without becoming shouty or aggressive, making this an excellent choice for vocal-centric music.
Detail retrieval in the mids is impressive for the price. You can pick out subtle nuances in vocal performances and follow individual instrumental lines in moderately complex arrangements. While it won't compete with (more expensive) multi-driver configurations in resolving micro-details, it delivers more clarity than many competitors in the $50-100 range.
Treble
The treble region of the Cadenza II is tuned for smoothness and long-term listenability. The treble peaks at 3kHz before extending smoothly with refined decay that enhances overall balance. There's enough air and sparkle to keep music feeling open and detailed, but the upper treble is controlled to avoid any harshness or sibilance.
This treble tuning means you won't experience harsh cymbals or piercing hi-hats, even at higher listening volumes. For listeners sensitive to treble or those prone to listening fatigue, this is a significant advantage.
Detail in the treble is good but not exceptional. You'll hear cymbal shimmer and the bite of snare drums, but the finest micro-details and air might be slightly subdued compared to IEMs with more emphasized upper frequencies. This is an intentional tuning choice that prioritizes comfort over analytical precision, and for many listeners, it's the right call.
Technical Performance
Timbre on the Cadenza II is notably natural and realistic—a significant accomplishment for budget IEMs where artificiality often surfaces. Instruments and voices maintain their authentic character without sounding thin, metallic, or overly colored.
The soundstage is above average in width for a budget IEM, though it's not particularly expansive in height or depth. Most of the perceived space comes from the stereo field rather than true three-dimensional imaging. Expect decent left-right separation with moderate depth perception.
Imaging for the $30 price range sits nicely above average. On moderately complex tracks, you can follow individual instruments and place them within the soundstage with reasonable accuracy. For gaming or spatial audio applications, it performs quite well, but of course, it won't provide the pinpoint accuracy of higher-priced IEMs.
Comfort, Fit, And Isolation
Comfort is one of the Cadenza II's strongest suits. The lightweight polycarbonate composite shells feel almost weightless in the ear, and the ergonomic design ensures they sit naturally without creating pressure points.
I found the wide-bore ear tips to provide the most comfort and the most enjoyable sound quality for my ears.
I didn't notice any pressure, hotspots, or ear fatigue during my use, and the shells are low-profile enough that they stay comfortable during longer listening. The fit is fairly universal, accommodating both small and larger ear anatomies, and it fit my medium-sized ears very easily.
The venting system relieves internal air pressure effectively, preventing the uncomfortable suction feeling that some sealed IEMs can create. However, this venting does impact isolation performance slightly.
Isolation is good, but not outstanding. The passive noise isolation blocks up to 10dB of low-frequency noise (like bus engines or airplane hum) and up to 30dB of high-frequency noise (like keyboard typing or air conditioning). This is about average for IEMs at this price point.
Comparisons: How Does It Stack Up?
Kiwi Ears Cadenza II vs. Moondrop Chu 2 ($20)
The Moondrop Chu 2 represents the Cadenza II's closest competition in the ultra-budget bracket. The Chu 2 offers a more neutral, reference-oriented tuning with less warmth than the Cadenza II. Its shell is smaller and lighter, potentially fitting smaller ears better, and it features an aluminum construction versus the Cadenza II's polycarbonate composite.
Sound-wise, the Cadenza II has better bass dynamics and more quantity in the low-end, making it more engaging for general listening. The Chu 2 sounds cleaner with better clarity in some areas, but can lack the warmth and musicality that makes the Cadenza II more emotionally involving. The Cadenza II also has less aggressive treble, reducing the risk of the "metallic" harshness that can sometimes be noticeable on the Chu 2.
For technical performance, the Cadenza II offers slightly better soundstage width, while the Chu 2 edges ahead in detail retrieval. The Cadenza II wins decisively on comfort for extended wear and comes with superior wide-bore tips. At a $15-20 price difference, the Cadenza II offers better value for those seeking a warm and engaging sound signature.
Kiwi Ears Cadenza II vs. Kiwi Ears Belle
The Belle was Kiwi Ears' newest ultra-budget offering before the Cadenza II, launching at just $30—undercutting the Cadenza II by about $5 USD. Both feature single dynamic drivers but take distinctly different approaches to tuning and driver technology. The Belle uses a 10mm Diamond-Like Carbon (DLC) diaphragm, while the Cadenza II employs a titanium-coated PET diaphragm, each offering unique sonic characteristics.
The Belle leans warmer and more bass-forward compared to the Cadenza II's neutral-with-warmth approach. The Belle features elevated sub-bass and mid-bass that deliver more rumble, impact, and thump—making it significantly more engaging for bass-heavy genres like hip-hop, EDM, and modern pop. The Cadenza II, by contrast, maintains better separation between bass and mids, offering a cleaner overall sound and better technical performance.
In the midrange, both IEMs showcase warm, lush vocals, but the Cadenza II edges ahead in clarity and separation. Vocals on the Cadenza II sit more forward and present, while the Belle pushes them slightly back to accommodate its bass emphasis. The Cadenza II also delivers more natural timbre and better detail retrieval, making it the superior choice for vocal-focused music and genres requiring midrange transparency.
Treble performance is where the differences become particularly noticeable. The Cadenza II offers more treble extension and air, providing better sparkle on cymbals and more detail in the upper frequencies. The Belle takes a safer, more relaxed approach to treble tuning, prioritizing smoothness and long-term listenability over analytical detail
Technically, the Cadenza II demonstrates superior performance across the board and is the IEM I would choose at the price point. It offers better soundstage width, cleaner imaging, stronger separation between instruments, and higher overall resolution. If you prefer maximum bass impact and don't mind losing some detail in the mids and treble to bass bleed, then the Belle will be your preferred choice.
Vs. Kiwi Ears Cadenza (Original)
The original Cadenza represents the first-generation model that has earned an excellent reputation, priced at $35. The most significant difference between the two lies in driver technology—the original uses a 10mm beryllium-coated diaphragm, while the Cadenza II employs a newly developed titanium-coated PET diaphragm. Both materials target fast transient response and low distortion, but titanium offers different sound characteristics and potentially better long-term durability at a lower manufacturing cost.
Build quality has seen meaningful upgrades in the Cadenza II. The original features 3D-printed medical-grade resin shells that are lightweight and comfortable but more prone to showing wear. The Cadenza II's polycarbonate composite shells with CNC-machined aerospace aluminum faceplates feel noticeably more premium and durable. The Cadenza II also includes a better tip selection with widebore and standard tips.
Both share a similar tuning—neutral with warmth, targeting a balanced Harman-style frequency response. However, the Cadenza II benefits from the upgraded KARS 2.0 acoustic tuning system, which has been redesigned specifically for the titanium driver. The Cadenza II sounds cleaner and more refined across the frequency range, with better overall cohesion and less mid-bass bleed than the original. Bass quality is similar between both models—tight, controlled, and quick—but the Cadenza II pulls ahead in texture and detail.
Technical performance favors the Cadenza II across the board. It demonstrates better detail retrieval, cleaner separation, more natural timbre, and slightly improved soundstage width. The original Cadenza is impressive for $35 and a good option if you want to save $15, but the Cadenza II certainly improves upon the original without a significant price increase.
Final Verdict
The Kiwi Ears Cadenza II delivers balanced, fatigue-free sound quality at an extremely accessible price point. It creates natural, engaging musicality that works across genres and listening sessions lasting hours.
The titanium-coated driver technology provides faster transient response and better clarity than typical budget dynamic drivers. The KARS 2.0 tuning creates a sound signature that's neutral enough for monitoring work yet warm and musical enough for pure enjoyment. The upgraded materials and thoughtful accessory selection (especially those wide-bore tips) show that Kiwi Ears understands what audiophiles want.
For newcomers to the IEM world, the Cadenza II serves as an excellent gateway that won't lead you astray with exaggerated tuning. For experienced listeners on a budget, it offers a mature, balanced sound that you can live with happily. And for anyone who simply wants great-sounding music without breaking the bank, the Cadenza II delivers in spades.
In the budget audiophile market, the Kiwi Ears Cadenza II earns a strong place as a top contender. It's an affordable IEM done right—no gimmicks, just honest sound quality at an honest price. Easy Recommendation.
Welcome to 2026, friends. The horrors persist, but so do we. So, as it turns out, do metal and hardcore, because the one month under the year’s belt provided us with plenty of damn good albums. Below are the ones we feel deserve the spotlight most.
In the interest of featuring as many great records as possible, our spotlight releases won’t include any albums that we’ve reviewed in full. This month, we reviewed new music from Eximperitus and Malignant Aura–click on those links if you’d like to read about them.
Ellis: Crush Your Soul – Ice Water
Metallic hardcore from the US
Another January rolls around and for the third year in a row it brings with it a ridiculously swagged out Crush Your Soul record. This one’s a full-length—albeit still a brief one at a tight 17 minutes—and it allows the band more space to flesh out their whole hip-hop-influenced gangster movie vibe while delivering easily their moshiest and most memorable set of tracks yet. Also, I’ve said it before and I’ll say it again: Jay Petagine is the best frontman this side of Scott Vogel in all of hardcore. Mindforce Expanded Universe in full effect, here’s hoping for new music from Fatal Realm and Cape Fade this year too.
Kirk: Deathraiser – Forged in Hatred
Thrash metal from Brazil
One of the great things about being part of the Noob Heavy writing team is the many different tastes in and affinities for different styles of music we all bring to the table. Kep and I may not (musically) agree on a lot, but one thing we have in common is each of us is Not a Thrash Guy. That being said, the sophomore album from Brazil’s Deathraiser is literally one that gave me pause and grabbed my attention. More often than not, thrash just sounds like Michelob Ultra as music to me, but Forged in Hatred has some serious meat on its bones. Thrash Guys are gonna love it, but it’s good enough to make believers out of us all.
Kep: Polaris Experience – Drifting Through Voids
Progressive thrash metal from Japan
This absolute fucking delight dropped out of nowhere on the second day of the year, and I’m oh so glad I stumbled across it. Drifting Through Voids is a vibrant experience that features tremendous songwriting and brilliant production; and yeah, I’m usually Not a Thrash Guy but this is too spectacular not to love. There’s so much life and feeling in this record, jagged riffs bursting with energy and lush passages of lulling calm. Raspy snarls, infectious grooves, attention-grabbing syncopation, drums that couldn’t be more natural yet striking. This damn thing is almost an hour long and I can’t get enough.
Kep: Stabbing – Eon of Obscenity
Brutal death metal from the US
The best young brutal death band in the country returns with a sophomore effort that will utterly flatten you. They’ve gone through a lineup shift since 2022’s Extirpated Mortal Process, with Matt Day now on bass and Aron Hetsko on drums, but that hasn’t hurt their ability to write ass-whipping riffs. This new record is better paced and has more variety song to song–a true virtue when it comes to brutal death–and Marvin Ruiz‘s axework feels a bit techier than in their older material. Meanwhile, Bridget Lynch remains a bonafide beast of a vocalist, and the band is tight as hell without any of that processed sound. Eon of Obscenityis brutal death done fucking right.
Kirk: Blackwater Holylight – Not Here Not Gone
Doomgaze from the US
So I haven’t kept up with Blackwater Holylight since RidingEasy Records was giving away all those free Bandcamp codes during COVID and I got Veils of Winter for free, but I just kinda knew this album was gonna be good. Like, I just had a feeling, y’know? Marisa Tomei would say I’m, “Dead on balls accurate” (it’s an industry term)—this album is just so warm and lush and achingly beautiful. Wild to think we have albums this good with another eleven months left to go…
Ellis: Feels Like Heaven – Within Dreams
Melodic hardcore from Sweden
Featuring three members of Speedway who put out my second favourite album of the year last year, Feels Like Heaven offer similar levels of hardcore exhilaration but with a fair whack more melody and emo-y wistfulness that puts them more in league with Title Fights and Praises and Fiddleheads of this world. At 23 minutes this album just flies by, urgent, catchy, vibrant and cathartic—another one to file under “drinking water music” which I have made it my mission to make catch on in 2026.
Off With Their Heads are currently on their “Burn It Down” Tour 2026, which brought them to Miami, Florida, for a stop at Las Rosas, where they delivered a set packed with fan favorites, joined by Dikembe as one of the tour’s supporting bands.
Dikembe is one of the bands joining Off With Their Heads as a supporting act on their current tour.
Off With Their Heads made a stop in Miami during their recent 2026 tour, delivering the best of their catalog with the raw energy that defines them.
Their hard-hitting, introspective, honest, and deeply emotional lyrics connected with fans from the very first song, pulling in the crowd and making everyone in attendance fully embrace and enjoy the powerful performance the band delivered that night.
Good Day Noir Family,
Listening to “Deep Undercover” by CAR287 for the first time is like stepping into a room where patience matters.
Deep Undercover is CAR287’s Single Out Now
The song opens with an atmospheric guitar figure that deliberately takes its time.
The pauses are just as important as the notes themselves. Because of that restraint, the listener immediately senses that the track is designed to grow slowly rather than explode all at once.
The vocal enters with a line that feels intense and controlled. The melody is confident, but it never pushes too hard. At the same time, there is a delicacy in the delivery that keeps everything balanced. The singer sounds secure in their choices, and that assurance carries the song forward. The timbre hints at subtle Michael Stipe influences, especially in the way certain phrases are shaped and held.
As the song reaches the chorus, it does expand, but it does so carefully. Instead of chasing raw energy, CAR287 clearly favors melody. This decision works in the song’s favor. The emotional lift is present, it remains measured and tasteful. Meanwhile, even though the vocal line often stays within a similar tonal range, the track never feels static. Harmonic variations underneath keep the arrangement engaging and fresh, so the listener’s attention never drifts.
Another standout element is the use of the Hammond organ. Its presence adds a classic rock flavor that blends naturally with the modern structure of the song. Rather than sounding nostalgic for its own sake, the organ enriches the arrangement and gives “Deep Undercover” a distinctive identity. This choice shows a deep understanding of musical language and tradition, suggesting that this band knows exactly where it comes from and where it wants to go.
“Deep Undercover” serves as a strong introduction to the album Looking Through The Lens. In fact, it invites the listener to explore the full record from beginning to end, because the care shown here suggests consistency across the entire project. CAR287 demonstrates maturity, patience, and musical awareness, all while delivering a song that rewards close listening and repeated plays.
Deep Undercover is CAR287’s Single Out Now!
Assured!
CAR287 is a Winnipeg-based rock band built on contrast—where plaid shirts meet leather jackets and classic rock instincts collide with modern alternative grit. Formed in 2014, the band cut its teeth everywhere from basement jams to barroom stages, absorbing influences that span decades and genres.
Known for big hooks, layered guitars, and an unapologetically eclectic sound, CAR287 blends the raw energy of ’70s rock with the melodic sensibility of 2000s indie, creating songs that feel familiar yet unpredictable. Powered by commanding vocals, soaring solos, relentless rhythm, and deep-groove basslines, the band thrives on chemistry and momentum.
CAR287 is proof that a band forged in covers can evolve, bend the rules, and carve out a sound entirely its own—loud, heartfelt, and impossible to pin down.
