The song begins with a rapid guitar that hooks you right away, reminiscent of sirens enthralling Odysseus. This moment of intrigue quickly transforms as a male voice interrupts, screaming uncontrollably. What initially feels like a dream swiftly becomes a violent storm. The music showcases a brisk tempo, with syncopated guitars alternating between riffs and brief solos. The drumming resonates with a force and precision akin to a tank’s mechanical engine, driving the rhythm forward.
The return of the female voice adds depth. It serves as an interplay with the male vocals, passing the energy back and forth. This dynamic exchange between the genders creates a rich texture. Moments of atmospheric calm contrast with spikes of rage, illustrating the song’s duality. It evokes nostalgia while possessing an edge that is undeniably powerful.
The melodic and rhythmic variations shine throughout this piece. There’s a constant push from start to finish, maintaining engagement. This song encapsulates a dystopian essence, rich with emotion and vivid imagery. The result is a piece that resonates and leaves a lasting impression.
One can sense that Benjamin Lazzaro is deeply aware of balance in his creative choices. He expertly transitions between serene vocal sections and aggressive instrumental bursts. This fluidity enhances the experience. The song’s progression becomes a journey rather than a mere listening experience.
The guitar work is particularly noteworthy. Its rapidity delivers an electric energy that pulls listeners into the heart of the storm. The solos are concise yet impactful, perfectly aligning with the chaotic atmosphere.
The drumming plays a crucial role. It acts as the backbone, grounding the piece while complementing the shifting dynamics. Each strike is intentional, ensuring that the song’s emotional weight is carried appropriately throughout. The layering of vocal styles ensures that each part shines without overshadowing the other, creating harmony.
The blend of light and dark themes throughout is a major highlight. The nostalgia lingers, juxtaposed with a sense of brutality. This unique combination results in an experience that is simultaneously reflective and raw. The strength of the lyrical content complements the technical abilities of the musicians.
Each element—the guitars, drums, and vocals—is synchronized perfectly. The overall atmosphere pushes the listener to feel rather than simply hear the music. This evokes a sense of urgency and relevance. The song is not only powerful but also thought-provoking.
“The Descent” by The Lazz is multi-dimensional. From the escalating tempo to the emotional dynamics, it offers an unforgettable listening journey. The artist expertly combines an array of influences to forge a distinct sound.
Epic
If you love this music: Discover MoreThe post The Lazz The Descent Review appeared first on Edgar Allan Poets – Noir Rock Band.
The song begins with an atmospheric introduction that transports listeners to a fragile parallel dimension. The reverberated sounds create an immersive experience. As the melodies unfold, you can envision driving through a city decorated with neon reflections on the wet asphalt. “Lost Between The Notes” evokes a desire to take a late-night drive through empty streets. There is an unmistakable noir vibe, featuring elements of jazz, soul, and blues intricately blended together.
These sounds create a kaleidoscopic mirage that pulls the listener away from reality. This instrumental piece possesses futuristic and nostalgic traits, distinguishing it as truly unique. Its cinematic quality suggests it could serve as a soundtrack for a science fiction film or a poignant farewell scene in a love story.
The sound design is remarkable. The organ lays down smooth transitions alongside sharp, bright guitar lines that slice through the air. This combination triggers neurons, inviting listeners to dive into dreamlike visions. The ambiance is rich and enveloping, urging listeners to get lost in the layers of sound.
The varied instrumentation enhances the overall feeling, creating a backdrop that encourages reflection and personal interpretation. There’s a blend of layered sounds that creates depth, allowing the listener to feel both grounded and elevated. Each note feels intentional, marking a deliberate journey through auditory textures.
Throughout the piece, moments of tension and release create an engaging ebb and flow. The intermingling of different genres creates a bridge between past and present influences. The overall effect is one of nostalgia wrapped in a modern cloak. This artful mixture invites listeners into a realm where different time periods collide.
In the midst of this serene exploration, the use of silence is masterful, creating space for introspection. Each pause between the notes feels deliberate, adding to the mystery surrounding the journey. These moments allow the mind to wander, igniting the imagination before the sound sweeps listeners back into the experience.
“Lost Between The Notes” encapsulates the idea of journeys, not just through physical spaces but also through emotional landscapes. It is a soundtrack for moments of introspection, urging the listener to confront their inner thoughts. The varying intensity feels like a dialogue with oneself, producing an effect that is both cathartic and invigorating.
Whether it serves as background music for a late-night drive or a reflective moment at home, its essence remains engaging. The combination of its invigorating elements invites listeners to partake in a rich audio experience.
“Lost Between The Notes” possesses a unique ability to evoke feelings and images in front of your eyes. For those seeking an experience that stimulates mind and heart, this piece stands ready to deliver.
Dreamlike
If you love this music: Discover MoreThe post Tamir Monadeev Lost Between The Notes Review appeared first on Edgar Allan Poets – Noir Rock Band.
The album opens with movement I, “Allegro agitato.” This piece is infused with strong emotions, welcoming the listener like a free-flowing breeze through Eastern Europe’s expansive taiga. The strings intertwine into sublime harmonies, painting vivid scenes of life: smoke billowing from a chimney, an old woman wandering through a desolate landscape. Interspersed are playful moments that evoke the imagery of animals playfully chasing one another, adding a lively contrast to the deep emotional narrative.
Following this is movement II, “Animato.” This composition again creates atmospheres reminiscent of a hearth’s gentle glow. It highlights the small, serene moments of life, even as ominous weather looms outside. The music captures that fleeting tranquility before a storm, encapsulating the beauty in life’s simplicity.
The third movement, “Adagietto,” begins on a more relaxed note. Here, the piano asserts itself with chords that carry a mysterious yet intense melody. This delicate, playful tune evokes a mix of emotions, drawing forth tears in one moment and smiles in the next, showcasing the inherent duality of human experience.
Next comes movement IV, “Presto.” This piece feels like the arrival of evening, playful yet tinged with mystery. It conjures images suited for a noir film, a sense of something watching from the shadows. The music’s intrigue makes you lean in closer, wondering about the secrets held in the darkness.
The album concludes with movement V, “Andante con moto.” The piano opens this final segment with an intense melody, reminiscent of standing at a harbor as a ship prepares to sail. The bittersweet farewell evokes a poignant sense of longing, as one sees their loved one for the last time.
Overall, “Piano Trio No. 2 ‘Mary Margaret’” is a remarkable achievement. Composers Jim Klein and Ian Jamison offer a studio recording that stands out for its emotional depth and fine-art complexity. The work, published by Polytropos Publishing, serves as a moving elegy for Klein’s late infant granddaughter. It balances intricate classical forms with a modern dialogue that resonates with contemporary audiences.
The piece premiered live at Steinway & Sons in Scottsdale, performed by the Colorado Piano Trio, featuring Steinway Artist Adam Żukiewicz. This live performance laid the groundwork for the remote recording created with FAMES Project. Through each movement, the listener is drawn into a world filled with life, emotion, and reflection.
While traversing the different movements, the album embodies a timeless quality. Each section explores various shades of human emotion, from joy to sorrow, with an engaging narrative thread connecting them all. The composers manage to pull listeners into the depths of their storytelling, inviting them to reflect on their own experiences.
The harmonic interplay between piano and strings serves as a vehicle for rich emotional expression. Each musician brings their unique voice to the performance, enhancing the overall impact of the composition. The meticulous detail in each note leads to an immersive musical journey.
“Piano Trio No. 2 ‘Mary Margaret’” is a phenomenal work that deserves attention from the classical music community and beyond. It highlights the composers’ ability to blend intricate musical language with profound emotional resonance. The album is a significant artistic statement and a heartfelt tribute that will resonate with listeners long after the final note has faded.
Sublime
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New Album – The Great Fires – Due Out This Summer
The Boar Metal beasts of BOARZOY have have shared the second single off their upcoming new album, The Great Fires.
“Your New Hands” is a barrage of psychedelic, and pummeling riffs, all based around the certainty of growing older, and the tribulations that come with that.
Stream the song at this location.
BOARZOY delivers a relentless, sludge-fueled and groove-forward brand of metal. Imagine a boar running roughshod through the pit at a DIY show and you’ve got BOARZOY.
The band will release The Great Fires on June 12. Pre-save the album here.
Watch the video for the album’s first single, “Agency (Is Necessary)” now at this location.
Stream the song on Spotify.
BOARZOY:
Riley Senne– Bass
Taylor Winterhalder– Drums
Rennie Boyd– Vocals
Jake Sklodowski– Guitars
BIO:
“From Boston, BOARZOY has forged their own genre, ‘Boar Metal’ – a balance of raw heaviness, eclectic styles and intense live energy. Known for their high-energy shows, the band is preparing to move to New York City later this year to further expand their reach.”
Source: ClawHammer PR
One may find this difficult to believe, but it’s been three decades that the ever-young Jann Klose released an album titled “Enough Said” and, thus, started a career that would bring forth and a few more remarkable records. None of … Continue reading
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Westone Audio has been in the ear game longer than most of us have been alive. Founded in the 1950s by Dr. John B. West—an audiologist who got frustrated with how poorly conventional hearing aids worked—the company started by hand-crafting custom ear molds. From there, they evolved into the professional audio world, eventually becoming one of the most respected names in in-ear monitor technology.
In 2020, Westone was acquired by Lucid Audio, the same parent company that picked up Etymotic Research. That acquisition kicked off a restructuring period, and the result of that work was the MACH series—eight models launched in 2022, ranging from the single-driver Mach 10 at $300 up to the flagship Mach 80 at $1,599. The model number tells you the driver count. Simple, right? Today we're diving into the Mach 60: six balanced armature drivers, $1,099, and a "Premium Reference" tuning philosophy that's all about accuracy over excitement.
The Mach 60 sits in what Westone calls the "Premium Reference" sub-series of the Mach lineup—that's the even-numbered models (20, 40, 60, 80), which are tuned for accuracy and detail rather than bass emphasis. It's positioned just below the Mach 80 in the Reference line, meaning it trades two of the flagship's tweeter drivers for a slightly more relaxed high-frequency presentation, while keeping the same dual-woofer, dual-midrange configuration. The result is a six-driver, three-way crossover design that Westone engineered as both a stage monitor and an audiophile-grade listening IEM.
The Mach 60's shell is made of molded polycarbonate plastic, and it is—for all practical purposes, visually identical to every other IEM in the Mach lineup, from the $300 Mach 10 all the way up to the Mach 80 (which we’ve also tested). The only physical differences are the model number printed on the left faceplate and a metal faceplate on the outside with Westone's logo on the right. These certainly aren’t a flashy pair of headphones, but the look is clean and simple, letting the audio quality be the focus, instead of looks.
That said, Westone knows what they're doing with fit and function. The space-gray polycarbonate housing is compact, ergonomic, and light—just 3 grams per side. The shells sit naturally in the concha area of your ear, and the nozzle diameter is a narrow 2mm, which is a trademark Westone design choice that makes insertion easier and tends to work better for people with smaller ear canals.
Inside the Pelican case (which, to their credit, is legitimately solid), you get the IEMs, the Linum ESTRON SuperBaX T2 cable, five pairs of silicone tips in varying sizes, five pairs of Westone's True-Fit foam tips, and a cleaning tool. The SuperBaX cable is excellent—168 strands of silver-plated copper with a listed impedance of just 0.75 ohms, meaning it adds minimal coloration to the signal chain. It's thin, lightweight, and barely noticeable when worn. The T2 connector system is more secure than MMCX, but it does mean that any MMCX aftermarket cables won't work without an adapter.
The Mach 60 is a natural, smooth, and well-balanced IEM that prioritizes accuracy over flair. This is not a V-shaped, bass-boosted, or hyped-up listen. What you get is a clean window into your music—warm enough to be musical, detailed enough to be revealing, and tuned so that listening fatigue is rarely a concern. It's a sound signature built for long sessions, critical listening, and stage monitoring—and it excels in all three contexts.
The low end on the Mach 60 won't satisfy bassheads, and that's by design. What's here is tight, defined, and accurate—the dual bass drivers deliver a controlled punch with warmth and texture in the upper bass and lower midrange region. Sub-bass extension is where things get a bit more polite; the Mach 60 rolls off more gently than some competitors at the same price point, meaning genres that rely heavily on deep rumble (EDM, hip-hop, modern pop) may leave you wanting more. That said, for rock, jazz, acoustic, and classical listening, the bass here is clean, well-textured, and never bloated or muddy. There's a satisfying dynamic response when the track calls for it, it just doesn't overdo it.
This is where Westone always excels. The midrange is open, detailed, and strikingly natural. Vocals sit at the right balance—present and clear without being forward or shouty. The lower mids add a bit of warmth and body to instruments, which makes guitars, piano, and strings feel lifelike rather than sterile. The upper mids are where some of Westone's signature character shows up. There's a beautiful, almost holographic quality to how guitar notes bloom and decay, something longtime Westone fans will recognize as part of the brand's "house sound." For acoustic music and anything with real instruments front and center, the midrange performance here is exceptional.
The high frequencies on the Mach 60 are controlled, smooth, and well-extended without ever turning harsh or fatiguing. The two tweeter drivers handle the upper register with a refined touch. There's enough air and sparkle to keep things interesting and detailed, but the overall character leans toward smooth rather than bright. If you're treble-sensitive or have spent time with brighter-tuned IEMs like the Mach 80 or certain Campfire Audio models, the Mach 60 will feel more relaxed up top. Cymbal strikes, hi-hats, and string overtones are all rendered with good clarity and natural decay. What's missing is that last bit of ultra-high frequency "sparkle" that the Mach 80's quad tweeter configuration can pull off.
The Mach 60's biggest strength might be timbre. Instruments sound very organic not processed, not artificially enhanced, just accurate. The way acoustic guitar strings resonate, the way a snare shell sounds, or the way a vocalist's breathiness comes through in a quiet passage—these things all come through with a lifelike quality that speaks to Westone's decades of engineering experience. The soundstage is respectable for a ventless, sealed all-BA IEM—it's not the widest you'll hear at this price, but it has solid depth and a natural sense of space. Imaging is precise and consistent, placing instruments in defined positions across the mix. It's not the most expansive stage you've ever heard, but what's there is credible and musical rather than artificial or exaggerated.
In all Westone products I’ve tested, comfort has always been excellent and The Mach 60 is no exception. The compact shells and lightweight build make these disappear in your ears, extended listening sessions of three, four, even five hours aren't uncomfortable. The narrow 2mm nozzle aids insertion without requiring a painful deep fit, and the ergonomic shell shape naturally fills the concha area for a stable, low-profile seal.
Isolation is seriously impressive. Thanks to the fully ventless design, these IEMs block ambient noise at a level that rivals many custom molded monitors. With the True-Fit foam tips installed, the passive noise isolation is incredible. Strong enough for live stage monitoring use, commuting in noisy environments, or just blocking out your surroundings at home. The silicone tips offer a slightly brighter and more balanced sound with a tighter bass response; the foam tips add a bit more low-end weight and deeper isolation. It's worth experimenting to find what works for your ears.
The most natural comparison in the lineup. The Mach 80 steps things up to eight balanced armature drivers — adding two more tweeters to the high-frequency section—which results in a notably more detailed and airy upper register. The Mach 80 also has a more dynamic presentation overall, with a more articulate bass (thanks to a faster response from its driver configuration) and a crisper, more energetic treble. However, that extra high-frequency energy makes the Mach 80 a brighter, potentially more fatiguing listen for extended sessions. The Mach 60 is warmer, smoother, and arguably a more relaxing long-term listen. The $500 price difference is real—and unless you specifically want that extra treble detail and energy the Mach 80 brings, the Mach 60 makes a very strong case for itself with a very similar level of detail and accuracy for a much more affordable price.
The SE846 is Shure's long-running flagship universal IEM and one of the most recognized names at this price tier. Shure's design uses four balanced armature drivers with a proprietary low-pass filter system that allows you to swap nozzle filters to tune the bass response from lean to full. The SE846 has a warmer, slightly more bass-forward presentation compared to the more neutral Mach 60, and its replaceable nozzle system gives it a versatility the Mach 60 doesn't have. Where the Mach 60 edges ahead is in midrange transparency and overall naturalness of timbre. Soundstage on the Mach 60 is also slightly more airy and open. At roughly $200 less than the Mach 60's MSRP, the SE846 offers meaningful competition— especially for listeners who prefer a warmer, more bass-present signature and appreciate the customizable tuning system, though the Mach 60 has a more accurate overall sound.
The Andromeda is one of the most beloved balanced armature IEMs in the audiophile world at this price range, and it's an interesting contrast to the Mach 60. Where the Mach 60 prioritizes smooth neutrality and reference-grade accuracy, the Andromeda goes for a more lush, energetic, and spacious presentation. It has a notably wider and more expansive soundstage, more present and extended treble, and a warmer low-end emphasis. The Mach 60 counters with better isolation, more accurate timbre, and a tuning that's more appropriate for professional stage monitoring. The Andromeda is a fantastic musical listen that many prefer for pure enjoyment; the Mach 60 is a more accurate reference tool that can also be thoroughly enjoyed as a music listener. Both are strong at the $1,100 price point—it really comes down to whether you want a reference monitor or a more immersive, musical experience.
The Westone Mach 60 is a well-tuned, comfortable, and genuinely capable IEM that delivers on its promise of accurate, natural sound. Westone's decades of professional audio expertise show up clearly in the midrange quality, timbral accuracy, and long-session comfort these offer. If you're a musician needing stage monitors, a studio engineer wanting in-ear reference tools, or an audiophile who prefers accuracy over excitement, the Mach 60 will likely impress you.
With that being said, The plastic housing, the identical shell across the entire Mach lineup, and a $1,099 price tag in a market full of strong competition make it hard to call this an effortless recommendation at full price. It competes well on sound, and as a professional monitor but is definitely on the expensive side of the market. If you can find it at a discount—which happens quite often—this is an excellent buy. At full price, go in knowing what you're buying: a precision reference IEM with a no-frills exterior, not a luxury accessory.
Thanks for reading!