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EVERGREY, Gothenburg’s masterminds of melancholia, release another song leading up to their upcoming fifteenth album, Architects Of A New Weave, out June 5, 2026, via Napalm Records. The encouraging new single Leaving The Emptiness offers a chorus that breaks through like sunlight piercing storm clouds. More than 30 years into their career, EVERGREY reshape their […]

Today, the world’s fastest band speeds up and into its biggest, boldest and most electrifying era to date: DRAGONFORCE have announced Alissa White-Gluz as their newest member and first frontwoman. In a momentous union of two storied and unstoppable forces, the preeminent pioneers of extreme power metal will now be joined by one of metal’s […]

In 2026, one of Australia’s most prolific live performers will deliver mind-bending musicality across the country with guitarist, producer and composer extraordinaire PLINI today announcing a headline run on home soil, fresh off the release off his hotly-anticipated new album An Unnameable Desire with special guests DELTA SLEEP (UK) for all dates, CENOBIA for Brisbane, […]

The Kerwick Hotel in Redbank, Brisbane comes alive on May 30 as Auditory Attack Volume One fires up for a night of free live music. Gutterfire, 308, F.U.C and Light Eater are your nominated noise merchants for the evening, with a series of raffles throughout the event where you can win a stack of prizes […]

Disclaimer: I received this product in exchange for my honest review. The Metalverse is an independent website, and all opinions expressed are our own. We thank the team at Kiwi Ears and Linsoul for giving us this opportunity.

Who Is Kiwi Ears?

Kiwi Ears launched in 2019 and has wasted absolutely no time making a name for itself in the in-ear monitor space. In just a few years, they've put out a range of well-regarded IEMs that consistently outperform their price tags—something that's easier said than done in a market flooded with options. Their approach tends to favor clean, neutral-leaning tuning with enough musical character to keep things interesting, and they've earned credibility through collaborations with respected community voices like Crinacle. With the Halcyon, Kiwi Ears aiming to make a statement about what's possible in driver technology at this price point.

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What Is the Kiwi Ears Halcyon?

The Halcyon is Kiwi Ears' most technically ambitious release to date, and it comes with a claim to history: it's the world's first in-ear monitor to combine a MEMS driver with a dynamic driver and three balanced armatures inside a single shell. Five drivers total, three different driver types, one cohesive IEM—that's the pitch.

Each driver handles a specific slice of the frequency range. The 10mm composite dynamic driver takes care of the sub-bass, two custom DEK-series balanced armatures cover the midrange, a WBFK-series balanced armature handles the upper frequencies, and then the USound MEMS driver comes in at the very top of the range to cover ultra-high-frequency transients with a speed and precision that conventional drivers can't match.

So what exactly is a MEMS driver? MEMS stands for Micro-Electro-Mechanical Systems. Rather than using a traditional voice coil and diaphragm, the USound MEMS driver is a solid-state silicon-based component that works via the piezoelectric effect. No coil, no magnet, no moving membrane—just an incredibly fast, tiny piece of silicon that excels at reproducing the upper reaches of the frequency range with exceptional clarity and transient speed. It's the same technology used in hearing aids and AR/VR audio systems, and Kiwi Ears is one of the first to integrate it into a tribrid IEM configuration like this.

The Kickstarter launch had a goal of raising $10,000 and, at the time of writing, is now at over $180,000 raised, showing the excitement for this release.

Pricing runs from $199 at the Super Early Bird Kickstarter tier up to a $259 retail price post-campaign.

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Build Quality & Design

Construction

When I picked up the Halcyon, the first thing I noticed was how solid it feels. The CNC-machined aluminum housing is tight, seamless, and polished. There's no flex, no creaking, no rough edges anywhere. For an IEM that launched via Kickstarter starting at $199, the physical quality is seriously impressive and gives the impression of something that costs significantly more.

The shell itself is compact and ergonomically contoured, with a smooth matte finish that resists fingerprints well. The faceplate design features a subtle laser-etched pattern that's elegant. The 0.78mm 2-pin connector is a standard, widely supported format, which means aftermarket cable compatibility won't be an issue down the road.

Unboxing

What's in the Box

Inside the box you'll find the Kiwi Ears standard hard-shell carry case (compact but functional), the modular OFC braided cable with swappable 3.5mm and 4.4mm terminations, two sets of silicone ear tips in wide and narrow bore sizes, and a couple of sets of spare nozzle filters. The modular cable termination system is appreciated—being able to switch between single-ended and balanced output without sourcing a new cable is a thoughtful inclusion at this price.

I liked the bronze color of the cable and found it to feel quite durable, even if it isn't one of the more tangle-proof cables I've used. The ear tips are serviceable, but nothing special; I found myself tip rolling for some time before settling on a pair of SpinFits I preferred over the included tips.

For those who want expanded functionality, Kiwi Ears offers an optional USB-C cable with integrated custom DSP equalization that pairs with a companion app for adjustable sound profiles, as well as an optional boom microphone cable for gaming and call use.

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Sound Quality

Overall Sound

The Halcyon lands in a tuning space that's best described as studio monitor-leaning neutral with a sub-bass enhancement. Kiwi Ears built in an 8dB sub-bass boost that rolls off cleanly around 200Hz, which means the low end has real weight and presence without bleeding warmth or bloom into the midrange. The result is a clean, articulate listen that feels balanced and refined, with plenty of energy in the low end to keep it engaging rather than overly clinical. This is the kind of tuning that works across a wide range of genres without ever really offending.

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Bass

The low end is one of the Halcyon's biggest strengths. That 10mm composite driver delivers sub-bass rumble that's quite visceral—the kind you feel as much as hear—while maintaining excellent control and definition. Drop an electronic or hip-hop track on these and the low end grabs you immediately. Bass lines have texture and body, and the articulation is sharp enough that you're hearing every note distinctly rather than a wall of low-frequency blur.

Where things get slightly nuanced is in the mid-bass. The Halcyon's emphasis sits clearly in the sub-bass, so while the depth is excellent, these IEMs have a more "rumbley" than mid-bass "punchy" sound. Overall, the bass is much above average for the $200 price range and brought a lot of songs to life the way many other sets haven't for me.

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Mids

The midrange on the Halcyon is clean and accurate, but it does take a slight back seat in the overall presentation. Instruments resolve naturally, and there's nothing plasticky or unpleasant about the tonality—it just doesn't leap forward in the mix the way the bass and treble do.

For most music genres—electronic, rock, jazz, classical, even pop—this works completely fine. Where it becomes slightly noticeable is with intimate vocal performances. Female vocalists can lose some of their presence and emotion in this presentation. If your library leans heavily on singer-songwriter, folk, or any vocal-centric genre, the slightly recessed mids might leave you wanting just a touch more presence. Personally though, I found the tradeoff to be worth it, and even when listening to vocal-heavy pop songs, I found the Halcyon to be quite enjoyable. It's not broken by any means, but it's an honest trade-off in Kiwi Ears' tuning priorities here.

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Treble

This is where the MEMS driver gets to show off, and it delivers. The treble on the Halcyon is one of the most naturally extended and airy presentations you'll find in an IEM under $300. High frequencies are detailed and open, with a sense of space and decay that sounds convincingly real rather than artificially boosted or crunchy —a concern with some other MEMS and piezo-based implementations on the market. I found myself noticing microdynamics in the very high treble registers that other IEM sets couldn't recreate the same way.

Cymbals, hi-hats, bowed strings, acoustic guitar shimmer—all of it comes through with excellent clarity and control. Nothing is sibilant, nothing is brittle, and there's no listening fatigue even at higher volumes. The MEMS driver handles ultra-high frequency transients with speed that conventional drivers typically struggle with at this price, and the payoff is a top end that feels effortless and spacious. Treble-sensitive listeners can approach this one without worry.

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Timbre, Soundstage & Imaging

Getting five drivers from three different technologies to sound like one coherent instrument is a real engineering challenge, and Kiwi Ears handles it well. The Halcyon doesn't have any obvious crossover artifacts or disconnected frequency regions—the transition from the dynamic driver bass up through the balanced armature mids and into the MEMS-assisted treble sounds smooth and unified throughout.

Timbre is natural and believable across instruments. Acoustic instruments have convincing texture, and nothing sounds synthetic or BA-tinny in the mids. The MEMS contribution at the top adds air without making things sound artificially bright.

Soundstage is wider than average for the price range, with decent depth that gives the presentation a three-dimensional quality rather than a flat, left-right-only stage. It's not a cavernous, out-of-head experience, but it's spacious enough to give complex mixes room to breathe. Imaging is also a highlight—instrument placement is precise and easy to track, with strong separation that keeps busy passages from turning into a wall of sound. Detail retrieval is genuinely impressive for the price, surfacing subtle elements in recordings that cheaper IEMs flatten over.

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Comfort & Isolation

The Halcyon's compact shell size is practical. Despite housing five drivers, the aluminum housing stays small and lightweight, sitting comfortably in the ear without digging or creating pressure during extended sessions. The ergonomic contouring works well for most ear shapes, and because the shell doesn't protrude awkwardly, side-sleeping or wearing these under headphones is reasonable.

Passive isolation is solid—good enough for commuting, public transit, or working in a noisy environment without needing to crank the volume. It won't isolate like a custom IEM, but it performs better than most open or semi-open alternatives in its price class.

One important caveat worth repeating: the Halcyon is moderately power-hungry for an IEM. At 29 ohms and 109dB sensitivity, it'll play fine out of a phone, but it noticeably opens up with a proper dongle DAC or DAP behind it. If you're planning to run these out of a laptop headphone jack, you might not be hearing the best version of them. A budget dongle like the FiiO KA13 or similar will make a meaningful difference.

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How Does the Halcyon Compare?

Kiwi Ears Halcyon vs. Binary Acoustics EP321 MEMS (~$309)

The EP321 is the other highly discussed MEMS IEM on the market right now, making this comparison the most technologically relevant one. Both IEMs leverage MEMS driver technology, but they approach it differently. The EP321 leans harder into a reference-forward, technically precise presentation with a more forward upper frequency response, while the Halcyon is warmer and more musical in character. The Halcyon wins on sub-bass depth, overall tonal balance, and pure listenability for long sessions. The EP321 may edge it for listeners who prioritize raw treble detail and analytical listening. At its Kickstarter pricing, the Halcyon is the better value play for most people.

Kiwi Ears Halcyon vs. Kiwi Ears Orchestra II ($349)

The Orchestra II is Kiwi Ears' established higher-end set and the natural in-house comparison. The Orchestra II is the more musically engaging, emotionally rich listen of the two — especially for acoustic instruments and vocals, where it has noticeably more warmth and fullness. The Halcyon strikes back with better sub-bass extension, stronger technical separation, and that uniquely capable MEMS treble. If vocal and acoustic music dominate your listening, the Orchestra II might still be the more satisfying choice. If you want cutting-edge driver tech, a more technical sound profile, and a lower price of entry, the Halcyon wins that argument. (I actually preferred the Halcyon after comparing both)

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Final Verdict

The Kiwi Ears Halcyon is easy to get excited about—and fortunately, the actual listening experience mostly backs up that excitement. The sub-bass is deep and satisfying, the MEMS-powered treble is special for this price range, the build quality flatters the asking price, and the technical performance puts a lot of more expensive IEMs on notice.

The mids sitting slightly recessed is a trade-off worth knowing about and the stock accessories could be more generous for a Kickstarter product making bold first-in-the-world claims. You'll also want a real source behind this to get everything it can deliver.

But step back and look at what you're getting: a five-driver, three-technology tribrid with genuine world-first engineering, in a premium metal shell, at $199 on launch day. That is an exceptional value. For audiophile IEM buyers in the sub-$260 range, the Halcyon belongs on your shortlist. I've tested 6 pairs of In-Ears/Headphones from Kiwi Ears so far, and the Halcyon is my favorite so far. Easy recommendation.

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Technical Specifications

• Driver Configuration: 1DD + 1 MEMS + 3BA (2 DEK custom balanced armature drivers + 1 WBFK custom balanced armature driver)
• Dynamic Driver: 10mm composite diaphragm
• MEMS Driver: USound silicon-based piezoelectric
• Rated Impedance: 29 ohms
• Sensitivity: 109 dB at 1kHz/mW
• Frequency Response: 10Hz – 42kHz
• Connector: 0.78mm 2-pin detachable
• Cable: OFC braided, modular with included 3.5mm and 4.4mm terminations
• Shell Material: CNC-machined aluminum
• Kickstarter Pricing: $199 Super Early Bird / $209 Early Bird / $219 Kickstarter Price
• Retail MSRP: $259
• Available via: Kickstarter (launched April 30, 2026) and Linsoul

Platinum-selling, Scranton, PA powerhouse MOTIONLESS IN WHITE have just announced their new album DECADES. It arrives July 17 via Roadrunner Records. Pre-order it HERE. Motionless In White are at home in the dark. For over 20 years, the quintet — Chris Motionless [vocals], Ricky Olson [guitar], Ryan Sitkowski [guitar], Vinny Mauro [drums], and Justin Morrow […]

Interview by Kris Peters After triumphantly casting off the shackles of claustrophobic dissonance on 2020’s lauded Stare Into Death and Be Still, New Zealand unorthodox death metal legends ULCERATE up the ante even further with mind-bending 7th album Cutting the Throat of God. An acknowledgement that the band’s most powerful and affecting material leans to […]

There are bands that evolve… and then there are bands like Gypsy Pistoleros who the term ‘evolution’ seems too slow – they shapeshift, shed old skin, and emerge wearing something even more outrageous. Dark Faerie Tales isn’t just their next chapter—it’s the moment where everything they’ve ever been finally locks into place and explodes outward in technicolour darkness.

Even from those early days—when the Pistoleros were simply a chaotic cocktail of glam, punk, flamenco and sleaze—you always got the sense this wasn’t a band interested in sticking to the lanes or remotely interested in having a Genre-label slapped on them, they rather grab a handful, sometimes in the space of a single song. Albums like ‘Duende A Go Go Loco’ were fun, but more recently ‘Church of the Pistoleros’ pushed that hybrid sound into something more theatrical and more defiant: a middle finger to Genre purity. By the time ‘Church…’ landed in 2025 it was already being hailed as fearless and eclectic by those in the know. But ‘Dark Faerie Tales’ doesn’t seek to replicate that success, sure it keeps some of the essence, but instead it mutates it into something darker, grander, and rather more unhinged.

Right from the opening title track ‘Dark Faerie Tales,’ you’re dragged headfirst into the band’s twisted mythology — a Glam-Goth-Punk fever dream dripping with swagger and menace. This is no gentle reintroduction; it’s a fully fledged re-birth on a mission to take on the world. The Sleaze is still there, and it emerges here an there in glorious echoes, but now it’s cloaked in Gothic atmosphere and theatrical weight, signalling a band stepping into a bigger, more cinematic world . After that opening comes ‘My One Desire (Burn It Up),’ which snarls with rebellion, before ‘King of Almost Everything’ struts in like a misfit anthem for the beautifully broken. It’s exactly the kind of outsider hymn this band has always thrived on.

What’s most striking across Dark Faerie Tales is just how complete it feels. Earlier records had the ideas, the fire, the attitude and the drive — but here, everything connects. It’s like that “A-ha” moment when you realise how it all ties together. ‘She’s Getting Stranger’ has an emotional darkness, wrapping vulnerability in grit with dirty chipped black fingernails. On teh other hand ‘Take My Hand to Nightmare Land’ is pure Pistoleros theatre: an invitation into their world where the freaks fly their flags freely. It’s not just songs anymore — it’s storytelling, threads drawn together to create an image in the brain rather than just please the ears.

And that’s where the evolution really hits. This collection isn’t just a bunch of tracks, it’s a concept. It’s a ride through a Dark Faerie Tale, a nightmare-land: a journey through burning churches, haunted forests and neon-lit nightmares. The band themselves have fully engaged with that idea, there’s a belief that this is something rather special. That sense of narrative elevates everything here: ‘Behind The Mask’ taps into a darker, almost post-punk intensity, whilst ‘Prince of the Damned’ and ‘Rattling’ hit like unhinged anthems built for sweat-soaked rooms.

By the time you reach “I Whisper Goodbye” and the haunting closer “The Ghost of Baby Strange”, you realise this is an important milestone. no evolution, as I said, it’s transformation. The chaos is still there, but now it’s controlled. The madness is still there, but now it has purpose and direction. Producer Dave Draper deserves a nod here too, helping shape that raw, genre-smashing energy into something cohesive without sanding off any of the real danger.

What makes this record really land though is its confidence. For years critics tried to pin Gypsy Pistoleros down – were they Glam? Punk? Goth? Flamenco? That is all irrelevant now as with ‘Dark Faerie Tales’, they’ve clearly stopped caring. This is the sound of a band finally comfortable being exactly who they are and who they want to be. Here you get everything at once, and none of it to be missed. As they’ve said themselves, they no longer feel the need to anchor their ship to anything – they are what they are – the Gypsy Pistoleros.

And that’s the real magic of it.

‘Dark Faerie Tales’ is bigger, darker, and bolder, but more importantly, it’s truer, more real. It takes everything positive from their early chaos, drinks in the fearless experimentation of ‘Church of the Pistoleros’, and turns it all into a fully realised identity. This is still definable: it’s still Glam Punk Goth ‘n’ Roll (though we have lost the Flamenco) it’s music without rules, without limits, and without an ounce of compromise.

For the misfits, the outsiders, and the beautifully broken – this isn’t just another album, it’s a rallying cry…

On a side note Lee sent me the unmixed follow up album to listen to and I’m speechless. It is even better than this. This is a band in their absolute sweet spot. We will have a lengthy interview with Lee up shortly…

The post ALBUM REVIEW: Gypsy Pistoleros – Dark Faerie Tales appeared first on The Rockpit.

M-Theory Audio is pleased to announce the signing of CUTTHROAT to the label. Breaking out of the L.A. Hardcore scene and combining serious attitude and fast rudiments, CUTTHROAT have been building a reputation for themselves with solid releases and worldwide touring. 

The partnership kicks off with the online premiere of the band’s blistering new single and music video, “Purge,” available on all streaming/download digital platforms or watch the video HERE 

“Built in chaos. Refined in violence. Cutthroat LA has officially signed with M-Theory Audio,” states singer Neil Roemer. “This isn’t a new beginning, this is an escalation. Welcome to the next phase. As we ‘Purge’ our Demons.”

The song features the fire, energy and attitude of CUTTHROAT so fans can expect a relentless assault with crossover appeal suitable for punk and metal fans with influences from classic hardcore, thrash and hip-hop.

The track serves as the title cut for the band’s upcoming EP, ‘The Purge,’ set for a worldwide release on August 14^th on limited (300) colored vinyl and jewelcase CD. A specially priced crushing crossover assault with 5 songs of pure hostility, featuring cover art by Mick Lambrou (Agnostic Front, Slapshot, Sick Of It All). Pre-Order Now at OUR WEBSTORE or BANDCAMP  (shipping from US and Europe based upon your location).

To support the release, CUTTHROAT will be heading overseas this summer for a highly anticipated European tour alongside Bay Area thrash legends Vio-lence. The tour will see the band bringing their high-energy live performance to major markets across the continent setting up the EP’s release. 

27/07/2026 – NL, Tilburg – Little Devil

28/07/26 – BE, Antwerp – Kid’s

29/07/26 – UK, Plymouth – The Depo

30/07/26 – UK, London – The Underworld

31/07/26 – UK, Bridgwater – The Cobblestones

01/08/26 – UK, Preston – Blitz

02/08/26 – IRE, Dublin – Grand Social

03/08/26 – NI, Belfast – The Limelight

04/08/26 – UK, Glasgow – Audio

05/08/26 – UK, Cardiff – The Globe

08/08/26 – AT, Vienna – Viper Room

09/08/26 – DE, Munich – Backstage

12/08/26 – SK, Košice – Colosseum 

13/08/26 – AT, Salzburg – Rockhouse (also appearing Armored Saint)

14/08/26 – CR, Zabok – Cuk Regenerator

ABOUT CUTTHROAT:

CUTTHROAT is a four-piece Los Angeles hardcore metal band formed in 2013 by founding member and frontman Neil Roemer. Cutthroat now also features Betto Cardoso on drums, Renato Romano on guitar and Bruno Nicolozzi on bass. 

Known for their DIY ethic and explosive live shows, the band has built a dedicated following through consistent touring and raw, honest songwriting. Cutthroat have released two major albums: Reflekt (2020), produced by Biohazard’s Billy Graziadei, which saw them tour Europe as part of the Persistance tour (w/ Agnostic Front, Gorilla Biscuits, H2O and more) and Fear By Design (2023) followed by tours of Europe, South America, Japan and the US including performances with Biohazard, Body Count, Agnostic Front, Madball, Sick of it All, D.R.I., Sworn Enemy and Destruction.

Both albums were released on Germany’s Demons Run Amok label. With the upcoming release of the Purge EP via M-Theory Audio and a major European run on the horizon, 2026 marks the beginning of the band’s most aggressive chapter yet.

For more information:

https://www.facebook.com/Losangelescutthroat

https://www.instagram.com/official_cutthroatla/

https://cutthroatla.bandcamp.com/

www.m-theoryaudio.com 

Velveteen .

The post Velveteen Queen to release new album ‘The Greater Good’ on September 18th first appeared on Sleaze Roxx.