Into the Fray: Loudness Wars’ “Battlefield” Hits Hard

Turn up the volume and brace yourself—Loudness Wars isn’t here to play it safe. Their latest single, Battlefield, is a storm of raw energy, nostalgic grit, and modern rock revival that refuses to be ignored. From the very first note, the Chesham-based trio grabs you by the collar and throws you straight into the chaos.

The song kicks off with a punchy, no-frills riff that screams ‘90s alt-rock rebellion, instantly bringing to mind the likes of Nirvana and Soundgarden. Jerome’s vocals hit that sweet spot between raspy anguish and controlled intensity, riding the tension like a seasoned frontman. There’s a weight to his delivery—a sense of struggle and catharsis wrapped in every lyric. Meanwhile, Rich’s basslines throb with an undercurrent of urgency, and Ian’s drumming crashes like gunfire, keeping the song’s pulse pounding from start to finish.

But Battlefield isn’t just about noise—it’s a meticulously crafted track with dynamic shifts that keep you hooked. The verses simmer with brooding restraint before exploding into a chorus that feels like an all-out sonic brawl. There’s grit, there’s melody, and most importantly, there’s authenticity.Self-produced and mixed by Jerome, the track maintains an unpolished edge that only adds to its charm. It’s the kind of song that belongs in a sweaty, dimly lit club, blasting through amps at full tilt. With Battlefield, Loudness Wars prove they’re more than just another rock band—they’re a battle cry for anyone still craving the raw, unfiltered power of real music.

A Haunting Journey into “Heaven Is a Face”

William Carlos Whitten’s latest single, Heaven Is a Face, delves deep into the ethereal and surreal, capturing an emotional essence that lingers long after the final note fades. Known for his eclectic and somewhat mysterious artistry, Whitten continues to defy expectations with this haunting track, a mesmerizing blend of sparse instrumentation and raw, introspective lyrics.

The song opens with a quiet intensity, setting the tone for what feels like a conversation between the listener and the divine. Whitten’s voice, weary yet captivating, delivers each line with an understated power that resonates deeply. It’s a song that’s both intimate and expansive, reflecting the sense of expansion that Diana Crash, his collaborator, described feeling while performing. The minimalist arrangement lets the weight of the lyrics sink in—each word feels purposeful, as if revealing glimpses of a larger, unspoken truth.Heaven Is a Face is at once mournful and beautiful, with a haunting quality that recalls the melancholy of Lou Reed and the stripped-back emotional charge of John Lennon’s Plastic Ono Band. There’s an undeniable vulnerability in Whitten’s delivery, echoing the deeper mysteries of the human experience. This song isn’t just music; it’s an invitation to explore the strange and uncharted territory of our own souls. With this track, Whitten proves once again that his songwriting transcends the boundaries of indie rock, offering listeners a rare glimpse into a world both familiar and otherworldly.

Sonic Solitude with a Pulse

There’s something beautifully ironic about Soaking Up The Silence — a song that feels anything but quiet. Super Tuesday, the brainchild of New York-based Alex Kisch, takes us on a ride through the backroads of isolation and the neon-lit corners of self-reflection, all wrapped in jangly guitars and a heartbeat that refuses to quit.

The track opens with a crisp, driving rhythm that immediately evokes the golden glow of late ‘70s college rock, with a slight surf twang that feels like it wandered in off a California highway. It’s got that dusty, sun-faded charm — like if R.E.M. took a detour through Nashville and brought Gram Parsons along for the ride.

Kisch’s vocals are earnest and just rough enough around the edges to feel real, like a voice you’d trust to tell you a secret. And lyrically, he delivers on that promise — lines about hiding in plain sight and seeking meaning in the hush of everyday life hit in a way that’s both personal and universal.What sets Soaking Up The Silence apart is how alive it feels, even in its quietest moments. There’s motion in the stillness, a kind of defiant joy in admitting we’re all a little lonely sometimes. It’s indie rock with soul, a sonic snapshot of finding connection in a disconnected world. Super Tuesday might be soaking up the silence, but this song deserves to be played loud.

Aisles of Melody: A Dreamy Detour with Retail Reverie

Turn the corner of any mundane day and you just might find Retail Reverie—a shimmering slice of nostalgia and what-ifs by UK’s Andrew Hartshorn and Spain’s John Serrano. Their debut collaboration feels like flipping through a photo album you didn’t know you had, filled with missed glances, maybe-love, and a grocery store aisle that holds more than just canned beans.

Hartshorn’s orchestral flourishes conjure up something straight out of a Paul McCartney daydream. But it’s Serrano’s warm, multi-layered vocals that wrap around you like a favorite sweater, giving this song its heart. You can hear the musical kinship they share, with echoes of ELO and 10cc whispering through the harmonies, yet nothing here feels borrowed or old.

Lyrically, it’s tender and wistful—a lonely-hearts tale dressed up in clever storytelling, where a chance encounter in a supermarket blossoms into something that lingers far beyond the frozen section. There’s regret, there’s redemption, and in the end, a quiet joy that makes you smile like you just ran into an old flame who remembered your name.The fact that this magic was cooked up in two home studios across countries and then polished at Abbey Road? That’s just the cherry on top. Retail Reverie isn’t just a debut—it’s a promise that Hartshorn and Serrano are here to soundtrack your sweetest daydreams.

There are moments in music when everything just clicks—the musicians, the room, the mood, the spirit. Saturday Sessions by The All’s Eye captures one of those rare, golden moments and bottles it like lightning in a jar. It’s not just music—it’s a feeling, a conversation between souls. And if you’re craving something raw, real, and rhythmically rich, this short but mighty two-track release will hit you right where it matters.

Let’s set the scene: three masterful musicians—Ari Joshua on guitar, Ben Atkind on drums, and Kris Yunker on organ—lock into a groove so tight, it feels like telepathy. Recorded live at Barbershop Studios as part of Matt Rifino’s Emmy-winning Saturday Sessions series, the album is beautifully unpolished in the best way. It’s all analog warmth, human touch, and heart-forward playing—no studio trickery needed.

Now let’s talk about the magic of the tracks themselves.

Gramama is an emotional powerhouse. It’s not every day a song makes you feel like you’re sitting on a wooden porch with your ancestors, watching the sun dip below the horizon. This track feels like a memory. It starts with the haunting lyric, “How lucid and beloved seem those days of which I covid,” immediately tugging at your soul with a quiet kind of ache. Inspired by Ari Joshua’s late Granny Queenie, the song pays tribute to a woman whose spirit clearly lives on through the music. The gospel-inflicted organ swells, the electric bluegrass rhythm gallops forward like an old train full of stories, and Joshua’s guitar tone is drenched in love. You can hear the reverence in every note. It’s not just a tribute—it’s a spiritual connection channeled through sound.

Then comes Say What You Wanna Say, and oh boy, this one rips. Where “Gramama” is spiritual and soulful, this track is bold, brash, and bursting with energy. Originally written for a boogaloo jam with Skerik and Delvon Lamarr, The All’s Eye reimagines it here with fuzzy psych-rock edges and fearless jazz improvisation. It’s got that gritty basement club vibe—the kind where the walls sweat, and the music owns your body before your mind catches up. Yunker’s organ solos soar like they’ve got wings, Atkind’s drumming is fluid and ferocious, and Joshua shreds with a mix of bluesy bite and cosmic curiosity.

Lyrically, Say What You Wanna Say is a battle cry for honesty. It’s about speaking truth from the gut—from that deep, timeless place inside where fear can’t reach. The track doesn’t preach; it burns. It dares you to drop the mask, open your mouth, and speak from your soul.

What ties both songs together is chemistry. This isn’t a band just playing well together—this is a band listening deeply to each other, pushing and pulling like a single organism. The live setting elevates that energy tenfold. There’s no hiding behind edits or filters. It’s raw, intimate, and alive.

And the production? Hats off to Matt Rifino. The way this album is captured—clean, close, and full of warmth—makes you feel like you’re sitting in the middle of the studio, surrounded by amps and glowing tubes. The mix gives each instrument its own space, yet binds them together with an invisible thread of soul.

Saturday Sessions is short, sure—just two tracks—but they pack the punch of a full album. Each note feels intentional. Each silence, sacred. It’s a beautiful snapshot of three musicians trusting each other enough to leap—and landing somewhere extraordinary.

This isn’t background music. This is feel-it-in-your-bones music.

Plug in. Close your eyes. Let The All’s Eye take you somewhere timeless.

Guitar – Ari Joshua
Drums – Ben Atkind
Organ/Keys – Kris Yunker
Producer – Matt Rifino
Mixing Engineer – Matt Rifino
Mastering Engineer – Matt Rifino
Recorded at – Barbershop Studios
Artwork – Ari Joshua

A Bright Turn: Edie Yvonne Steps Into the Sunlight with “Changed My Mind”

Sixteen-year-old Edie Yvonne might just be the future of indie pop — and her new single “Changed My Mind” is a radiant shift in tone that proves she’s not afraid to evolve.

Where her past releases (“Burn,” “Epitome,” and “I Might”) painted aching portraits of heartbreak and teenage melancholy, this 2025 opener brings something different — light. That’s not to say it’s all sunshine and daisies. There’s still that dreamy, wistful edge we’ve come to expect from Edie, but this time, it’s wrapped in self-realization and soft resolve. “Changed My Mind” feels like the moment the clouds part after a long rain — not because everything is suddenly perfect, but because she’s finally ready to move forward.

The production is clean and atmospheric, with an airy beat that complements her signature ethereal vocals. Edie’s voice floats effortlessly — confident, yet vulnerable — like she’s writing her own coming-of-age movie in real time. The storytelling is personal but deeply relatable, especially for anyone who’s ever walked away from something (or someone) they once held tightly.What’s most exciting here is the sense of growth. Edie Yvonne isn’t just singing about letting go — she’s doing it, with grace and a little grit. “Changed My Mind” is hopeful, empowering, and totally replay-worthy. If this is how she’s kicking off the year, we’re all ears for what’s next.