JOVM’s William Ruben Helms celebrates Large Professor’s 54th birthday.
Throwback: Happy 60th Birthday, DJ Premier!
JOVM’s William Ruben Helms celebrates DJ Premier’s 60th birthday.
Throwback: Happy 123rd Birthday, Son House!
JOVM’s William Ruben Helms celebrates the 123rd anniversary of the birth of Son House.
New Audio: The Afghan Whigs Share Gritty “House of I”
JOVM mainstays The Afghan Whigs — currently Greg Dulli (vocals, guitar), John Curley (bass), Patrick Keeler (drums), multi-instrumentalist Rick Nelson and the band’s newest member, Blind Melon’s Christopher Thorn (guitar) — released their ninth album, 2022’s How Do You Burn? to widespread critical acclaim from Rolling Stone, Pitchfork, Los Angeles Times, Spin,Stereogum, Billboard and others.
Late last year, saw the band tackling two songs — — Poliça‘s “Fake Like” and Still Corners “Downtown” — that seemed perfect for the band’s unique take on them.
The JOVM mainstays will celebrate their 40th anniversary this year with a monthlong tour with Mercury Rev that includes an April 30, 2026 stop at Webster Hall. Tour dates are below. You can visit https://linktr.ee/theafghanwhigs for more information, including tickets.
“40 years later, I still get to do the thing I love the most. Writing songs and performing them with my friends all over the world,” The Afghan Whigs’ co-founder and frontman Greg Dulli says. “I truly have to pinch myself.”
But in the meantime, the JOVM mainstays just shared “House of I,” the first bit of original material from the band since the release of How Do You Burn? Anchored around propulsive and pounding drums and churning guitar roar, “House of I” is a bit of return to grittier, nastier sound of the band’s early days paired with Greg Dulli’s imitable vocal singing lyrics are simultaneously caustic yet full of aching desire and swaggering ego.
Produced and mixed by the band’s Greg Dulli and Christopher Thorn, “House of I” was recorded at New Orleans-based Marigny Studios with additional recording and mixing at Joshua Tree, CA-based Fireside Sound. “Laid this one down in New Orleans last summer,” Dulli said. “Was looking for an up tempo banger and feel like we found one here.”
Throwback: Happy 90th Birthday, Lee “Scratch” Perry!
JOVM’s William Ruben Helms celebrates the 90th anniversary of the birth of Lee “Scratch” Perry.
Throwback: Happy 111th Birthday, Sister Rosetta Tharpe!
JOVM’s William Ruben Helms celebrates the 111th anniversary of the birth of Sister Rosetta Tharpe.
New Audio: George Thorogood and The Destroyers Share Rare and Previously Unreleased Live Recording of “Who Do You Love”
Delaware-based George Thorogood and the Destroyers — currently founding duo George Thorgood (vocals, guitar) and Jeff Simon (drums) along with Bill Blough (bass), Jim Suhler (rhythm guitar) and Buddy Leach (saxophone) — formed way back in 1973. And since their formation, the band has played more than 8,000 live shows, developing a reputation for being one of the most consistent — and consistently passionate — progenitors of blues-based rock.
The band initially honed their sound on stages across the Northeast, building a devoted, word-of-mouth following through high-energy performances, blistering grooves and of course, one of the baddest motherfuckers out there, George Thorogood.
Things began to blow up in the late 1970s, after the band relocated to Boston and signed with Rounder Records. Their self-titled 1977 full-length debut channeled the power and energy of their live shows. They followed up with their breakthrough effort, 1978’s Move It On Over. The band’s profile nationally and elsewhere continued to rise with a string of popular releases 1980’s More George Thorogood and the Destroyers, 1982’s Bad to the Bone and 1985’s Maverick. And yet, their true passion always remained playing live.
“George’s connection to unvarnished, primal rock and roll made the music relevant in a way that no one could have predicted,” writes Scott Billington, who spent over 40 years as Rounder Records’ Vice President of A&R. “And even though he went on to make many wonderful records…he’s the first to say that he’d rather be on stage than in a recording studio.”
With the band now in their fifth decade, Craft Recordings shines a spotlight on their high-octane concerts with The Baddest Show on Earth: Greatest Hits Live. Spanning 1978-2024, this new collection showcases some of the band’s most electrifying live performances — many making their debut on record, including their enduring crowd favorites “Who Do You Love,” “One Bourbon, One Scotch, One Beer,” “Bad to the Bone,” and “Move It On Over.”
Slated for a June 12, 2026 release, The Baddest Show on Earth will be available on vinyl LP featuring four previously unreleased tracks, while the expanded CD and standard/hi-res digital editions include eight previously unreleased performances. Both physical formats will feature new liner nots from Grammy Award-winning producer and blues musician Scott Billington.
There will be three vinyl variants for fans — Black, Translucent Yellow, which will be available exclusively at Barnes and Noble, and Blazing Red Smoke, which will be available exclusively through GeorgeThorogood.com and on tour. You can pre-order the album here, but in the meantime, Craft Recordings and the band shared a previously unreleased performance of “Who Do You Love,” which was recorded in Atlanta in 1980.
Speaking about The Baddest Show on Earth, Thorogood says, “When the lights go down, the downbeat hits and the audience erupts; all bets are off. The Destroyers are at their best when we play for the people, and these are some of our favorite—and rarest—performances from the past five decades. You wanted the baddest, you got it.”
Thorogood and the Destroyers’ rendition of Bo Diddley‘s “Who Do You Love” is one of my favorite versions of the song, and the live version captures the swaggering, badass swagger and sweaty voodoo-like rhythms of their recorded version — and just important how under appreciated Thorogood is as a guitar player.
New Audio: The Twilight Sad Shares Cathartic “Attempt A Crash Landing — Theme”
Scottish post punk outfit The Twilight Sad — currently, vocalist James Graham and multi-instrumentalist Andy MacFarlane — will be releasing their long-awaited sixth album and first in seven years, It’s The Long Goodbye on March 27, 2026 through Rock Action Records.
The origins of the soon-to-be released album’s material can be traced back to 2016: Graham and McFarlane returned from the giddy “pinch yourself” high of a tour with The Cure to learn that Graham’s mother had been diagnosed with early onset frontotemporal dementia.
Roughly 80% of the album was written while Graham wrestled with the contrasts between the pure joys of his life — marriage, parenthood, a successful career — and the bitter cruelty of his mother’s decline, followed by her death.
Over the course of the next seven years, the album’s material was further developed with the the London-based MacFarlane stockpiling musical ideas during COVID-19 lockdown, while exchanging words and sounds with Graham. The Cure’s Robert Smith, now a longtime close friend of the duo, provided invaluable input on the album’s demos and contributed guitar on “Waiting For The Phone Call,” mellotron on “Dead Flowers,” and six-string bass on “Back To Fourteen.”
“Then we had to piece together a band,” Graham says, now that the band is primarily centered on him and MacFarlane. Sometimes Arab Strap members David Jeans and Mogwai touring member Alex Mackay were recruited to play drums and bass respectively, with the album produced and recorded by the band’s MacFalane and addition production from Andy Savours at Willesden, UK-based Battery Studios, a location rich in The Cure history.
The end result may arguably be the most personal yet relatable album to date from a band whose portraits of bruised and battered humanity have helped to forge close ties with their audience. “In the past, I’ve used a lot of metaphors within my lyrics,” Graham says, “With this, there’s not as much. The record is heavily influenced by my mental health, grief and loss, and the need to be strong in positions where you’re not feeling it. It’s a very human story, I think – this is just my version of it. I feel that everybody goes through something like this. Everybody loses somebody. Everybody questions life.”
Graham adds, “To know that I’m saying things that connect with other people, that’s such a powerful thing. I want to be a relatable person that talks about things that can happen and give an opportunity for people to go, well you’re not alone. I want people to be able to listen to this record and hear that it comes from a place of raw emotion. The album is an opportunity to share my experience and move forward with my life.”
The album will include “Waiting For The Phone Call” featuring The Cure‘s Robert Smith, “Destined To Lose,” and the album’s third and latest single, “Attempt A Crash Landing — Theme.”
“Attempt A Crash Landing — Theme” slowly builds up from an introspective croon to a rousingly cathartic anthem, as Graham lays bare his soul over McFarlane’s guitar textures. Much like its immediate predecessors, the new single is informed by the deeply personal yet universal experiences of loss, grief and resilience while showcasing the duo’s unerring knack for big, catchy hooks.
Throwback: Happy 73rd Birthday, Ricky Wilson!
JOVM’s William Ruben Helms celebrates the 73rd anniversary of the birth of The B52’s co-founder Ricky Wilson.
New Audio: MADELEINE Shares Atmospheric “Give Back To Her”
MADELEINE is an emerging and rising talent in the UK nu-jazz and soul scene. Citing Flying Lotus, James Blake, Salami Rose Joe Louis, Ego Ella May and Sampha as influences on her sound and work, her early output has seen praise from The Line of Best Fit and Jazz re:freshed as well as airplay from BBC Radio 1, BBC Introducing, and Jazz FM. She also played last year’s SXSW.
Building upon a growing profile in the UK, the rising British artist will be releasing the Earth Cry EP through Bridge The Gap on June 16, 2026. The self-produced, self-arranged and self-written effort features some additional production and mixing from Lewis Moody and Will Heaton. The EP reportedly sees MADELEINE taking on a much more futuristic turn, with the material featuring glistening synth textures complimenting her ethereal yet soulful delivery. The restful is an effort that explores future soul while balancing organic textures with an intergalactic interpretation of the sound of London’s cityscape.
Earth Cry EP thematically picks up from where 2023’s full-length Sun Daughter left off, acting as a cry for consciousness and care in relation to both the planet and to our fellow human beings. “I find the parallel between my own personal life, and the relevance of the world around me (nature, politics, the natural world, the dream world), extremely important,” MADELEINE explains. “Sometimes the two are so interlinked within my lyrics – they can almost blur into one. With this project I feel more confident in my directness with some of my themes. After the absolute horrors of the last couple years, it feels important to be talking about something that really matters.”
The forthcoming EP’s latest single “Give Back to Her” is a shimmering and atmospheric take on neo-soul that showcases MADELEINE’s effortlessly soulful delivery and knack for tight, catchy hooks. The result is a song that feels simultaneously improvised, sculptured and crafted. Fittingly, “Give Back to Her” was workshopped and crafted through a mix of her home studio and developing ideas on the road while touring as a keyboardist for Olivia Dean, Jorja Smith and Rachel Chinouriri.
Thematically, the song, as the rising British artist explains is about restoring balance, that people should return what is given, all while asking if we can learn to nurture the planet. “Mental health, for me, is strongly entwined with nature, and this idea of things being taken from us found itself manifesting in the verses from a more personal perspective,” MADELEINE says.
New Video: London’s deary Shares Lush, Shimmering “Alma”
Rising London-based shoegazers deary — Rebecca “Dottie” Cockram (guitar, vocals), Ben Easton (guitar) and Harry Catchpole (drums) — formed back in 2020 over their shared love of Cocteau Twins, Slowdive and My Bloody Valentine.
The band’s debut single, 2023’s “Fairground” landed at #1 on the UK Vinyl Singles Chart and led to opening slots with Slowdive and Cranes, as well as collaborations with Saint Etienne, The Murder Capital and Lush‘s Emma Anderson. Building upon a growing profile in the UK, the London-based trio’s highly-anticipated, self-produced full-length debut, Birding is slated for an April 3, 2026 release through Bella Union.
Birding reportedly sees the band proudly wearing their long-held influences on their collective sleeve, pairing dreamy shoegaze beauty with trip-hop influenced beats, incorporating their unique, modern touch to make something completely their own.
Thematically, the album aims to draw attention to the direct impact that we humans have on the world around us, whether that’s nature or just ourselves. The album also touches upon the importance of protecting the inner child or someone more vulnerable, holding hands and learning from past mistakes. “I was writing the record in one of the worst periods of my life,” deary’s Ben Easton explains. “I was not in a good space at all. Our last EP, Aurelia, was about transition, and how it’s cool to change. And Birding is, ‘Oh no, I‘ve made some really disruptive life decisions.’ The album came from an isolated, almost hopeless space, and you can hear that in parts of the record. But there are also moments that are very self-loving and meditative, and a bit more uplifting.”
Birding will include the previously released, critically applauded tracks “Seabird” and “Alfie,” as well as the album’s latest single, “Alma.” Deriving its title for the Spanish word for “soul” and the Latin word associated with kindness and nourishment, Birding‘s third single is a blend of The Sundays-era dream pop with Slowdive and Cocteau Twins-inspired shoegaze: swirling and shimmering guitars serve as a lush bed for Cockram’s ethereal cooing and some remarkably catchy, well-placed hooks.
“I see ‘Alma’ as an embodiment of our band,” deary’s Dottie Cockram explains. “It has been with us for a long time and changed with us along the way. In the past 4 years, we have grown into ourselves and have a much clearer idea of what deary is. In this song, I am talking to my younger self who made the decision to look after us and become a better person.”
Directed by Limb, the accompanying video features twin siblings Robin and Charly Faye. Appearing as though it was a meeting of past and future selves, the siblings — one initially blindfolded until it’s removed — meet each other with deeply knowing love and kindness.
Throwback: Happy 85th Birthday, Wilson Pickett!
JOVM’s William Ruben Helms celebrates the 85th anniversary of the birth of Wilson Pickett.
Throwback: Happy 63rd Birthday, Vanessa Williams!
JOVM’s William Ruben Helms celebrates Vanessa Williams’ 63rd birthday.
Throwback: Happy 56th Birthday, Queen Latifah!
JOVM’s William Ruben Helms celebrates Queen Latifah’s 56th birthday.
New Video: Atsuko Chiba Shares Hypnotic “Torn”
With the release of 2013’s Jinn, 2019’s Trace and 2023’s Water, It Feels Like It’s Growing, 2016’s Figure and Ground EP and The Memory Empire EP, as well as a handful of singles, all which were self-produced and recorded at their Room 11 Studio, Montréal-based outfit Atsuko Chiba — Karim Lakhdar (vocals, guitar, synths), Kevin McDonald (synths, guitar), Eric Schafhauser (guitar, synths), David Palumbo (bass, bass VI, vocals) and Anthony Piazza (drums, electronic drums, percussion) — have firmly established a sound that’s a cohesive and hypnotic blend of post-rock, prog and krautock paired with offbeat songwriting.
The Montréal-based quintet’s self-titled fourth album is slated for an April 24, 2026 release through Mothland. The album reportedly sees the band rethinking their sound and approach, drawing inspiration from the likes of Mark Lanegan, Beak>, Talk Talk, Can and Portishead, all while retaining elements of their long-established post-punk fueled psychedelia.
Though the band has been introducing more vocals and lyrics with every subsequent release, their fourth album sees the band further wielding vocals and lyrics as a well to delve deeper into their intrinsic meta. The result is an album that’s one-part gritty post-rock and one-part intimate hymn to self-reflection with its moodiness amplifying a communal desire to eschew recurrent patterns for the sake of comfort, approval and longevity.
The band decided upon a freeform creative process, which could only be achieved by pursuing a hands-on approach, and with each member sharing the roles of engineer and producer,
“Overall, Atsuko Chiba is an exercise in patience and restraint. The mood of the album is melancholic, at times feeling optimistic, while other times feeling almost hopeless—there’s a sense of loss and disconnect, but also a glimmer of hope,” the band explains. “It is the most vulnerable and stripped down music we have ever made. It is a departure from the aggressive and distorted guitar sound we’ve relied on over the years. We also chose to make it a self-titled record which is something we battled with. We went with Atsuko Chiba because its overarching themes relate to us in a deep way. The material on this album presents itself as a mosaic of our interests and experiences as a band. We let the music guide us every step of the way, never forcing our will upon it, instead paying attention to what it was telling us and what we could do to further support it.
At first, we would come into the studio without a plan, just playing and recording the entire time, with no pressure as to a specific outcome: free jams during which we were just generating grooves, parts, and moments that felt good to us. We also put limitations, cutting out certain instruments from session to session, opening us to new options and pathways, generating new sound palettes. A lot of attention was put into creating space and holding back from always going for big epic moments. We focussed on keeping things simple and using dynamics to create exciting moments instead of relying on loud guitars to get us there. This album features a lot of auxiliary percussion, synthesizers, and keyboards, and places a strong emphasis on vocals. We explored acoustic guitars and created many custom percussive sounds by layering two or three sources together, also programming rhythms using samplers and drum machines.”
Atsuko Chiba will include the previously released, album opening track “Retention” and the album’s second and latest single “Torn.” “Torn” is a hypnotic, brooding tune anchored around a looping synth and guitar melody paired with reverb-drenched vocals. The song manages to be expansive yet introspective, while conveying a sense of unease and distrust.
“‘Torn’ explores the struggle with anxiety through the lens of overconfidence, transforming imposter syndrome from a state of paralysis into propulsion. By constructing a false reality, the protagonist earns the trust of those around him through promises he can not keep,” the band explains. “He embarks on a quest to control the world around him, while gradually losing himself in the deception of others—and his own. Eventually, he stares into the mirror and no longer recognizes the person looking back. Over time, he becomes a composite of the characters and narratives he has invented, dissolving into his own fiction. The game becomes indistinguishable from reality, breeding a deep and growing unease. Panic attacks and episodes of depersonalization follow, each one pushing him further, eroding sleep, stretching time, tightening the tension in his chest. At the edge of a cliff—unsure how long he has been awake—he searches for release as the pressure becomes unbearable. This release is marked by the shift at the end of the song. What happens next remains unresolved: does he jump, or does an old photograph—himself beside his father—surface from his wallet, pulling him back toward the memory of who he once was? We don’t know. . . “
The visualizer for “Torn” features footage of the band shot by the band and edited by the band’s Anthony Piazza that captures the band in the studio, working on the new album and traveling snow-covered roads.