Author: William Ruben Helms

William Ruben Helms is a Corona, Queens, NYC-born and-based African American music journalist, freelance writer, editor, photographer and founder of the DIY, independent music and photography site, The Joy of Violent Movement. Over the course of the past two decades, Helms’ writing and photography has been published in Downbeat, Premier Guitar Magazine (photography), Consequence, The Inventory, Glide Magazine.com (words and photography), Publisher’s Weekly, Sheckys.com, Shecky’s Bar and Nightlife Guide 2004, New York Press, Ins&Outs Magazine, Dish Du Jour Magazine, Aussie music publication Musicology.xyz (photography) and countless others, including his own site. With The Joy of Violent Movement, Helms specializes in covering music with an eclectic, globe-trotting, and genre-defying perspective that’s deeply inspired by and informed by his birthplace and home, arguably one of the most diverse places in the world. Since its founding back in 2010, The Joy of Violent Movement can proudly claim readers across the US, Canada, the UK, The Netherlands, France, Australia, and several others throughout its history. https://www.joyofviolentmovement.com https://www.joyofviolentmovement.com/shop https://www.instagram.com/william_ruben_helms Twitter: @yankee32879 @joyofviolent become a fan of the joy of violent movement: https://www.facebook.com/TheJoyofViolentMovement support the joy of violent movement on patreon: https://www.patreon.com/TheJoyofViolentMovement hire me for headshots, portraits and event photography: https://www.photobooker.com/photographer/ny/new-york/william-h?duration=1?duration=1#

New Video: STACEY Shares Lush, Kaleidoscopic “Upside Down Merry Go Round”

STACEY is a Toronto-born, Los Angeles-based singer/songwriter and musician, whose retro-tinged psych pop draws from the sounds and pop culture of the 1960s and 1970s has received critical praise from SPIN, LadyGunn, American Songwriter, Clash Magazine, Wonderland, Refinery29 and a lengthy list of others while receiving airplay from Apple Music’s Matt Wilkinson, KCRW’s and School Night’s Chris Douridas, CBC’s Errol Nazareth, BBC 6 Music’s Lauren Laverne and more.

The Canadian-born artist’s 2021 full-length debut, Saturn Return is part of a catalog that has amassed over eight million streams on Spotify, along with this year’s “These Days,” 2023’s “Christmas in California,” as well as 2013’s STACEY EP, 2015’s STACEY (Reconstruction) EP and 2017’s First Move EP.

Her compositions have been part of the soundtracks for more than 15 TV series and films including Netflix’s Spinning Out, Disney+’s Hollywood Stargirl, Lucifer, Pretty Little Liars Original Sin, Orphan Black and Degrassi. She has also shared stages with Charlotte Day Wilson, Tamino, Vinyl Williams and Tame Impala’s Cameron Avery. And adding to a growing profile, she has appeared on CTV‘s Your Morning and Global News’ The Morning Show and the Royal Ontario Museum‘s 75th Anniversary of Christian Dior Exhibit.

The STACEY and Dillon Casey co-produced, STACEY and Suzanne May a.k.a. Fonteyn co-written “Upside Down Merry Go Round” is STACEY’s first original release in five years and features Loren Humphrey (drums) and Tim McNalley (bass). Built around shimmering Wurlitzer, “Upside Down Merry Go Round” is lush, dreamy and subtly uneasy tune that sounds a bit like a seamless blend of Carole King‘s Tapestry, Dark Side of the Moon and Wish You Were Here-era Pink Floyd paired with a modern songwriting and lyrical approach. Thematically, the song captures the anxieties and emotional whiplash of existing in a modern, dystopian timeline: You’re trying to pay bills, join Zoom calls, chase dreams and carry on with your life, while the world unravels around you.

“I wanted to encapsulate the disorienting juxtaposition of day-to-day existence against the backdrop of worldly chaos, not only through the lyrics but also through the songwriting and production,” explains STACEY. “The drop to half-time in the choruses mirrors the relentless highs and lows of doom-scrolling. The song also has this feel-good quality that sits in contrast with the lyrics — ‘like a rainbow-coloured panic attack.’”

Directed by STACEY, the accompanying video for “Upside Down Merry Go Round” was filmed on 16mm film by Gus Bendinelli and is set a meticulously handmade surrealist dreamscape straight out of 1975 or so with psychedelic imagery and a miniature merry go round. To create the edible horses, which appear in the video. the Canadian born artist 3D-scanned the merry-go-round — a Facebook Marketplace find — and 3D-printed a miniature replicate of one of its horses. Longtime collaborator and makeup artist Christina Spina then created a mold, which the Los Angeles-based artist used to pour and then hand-painted the colored chocolate horses. “Aesthetically, I was loosely going for a 1970s Jodorowsky meets The Love Witch vibe with a sprinkle of Cher, but always myself — mostly letting my Facebook Marketplace prop finds and fashion choices guide the way,” STACEY says.

New Video: Julia Jacklin Shares Introspective “If I Had The Hand of God”

Acclaimed Melbourne-based singer/songwriter and musician Julia Jacklin will be releasing her highly-anticipated fourth album, the Robert Muiños and Jacklin co-produced, 10-song album  The Gem through 4AD Records digitally and on CD, cassette and vinyl on September 25, 2026. Exclusive color vinyl editions with retailers will include turquoise, green opal, ruby and rose quartz. Pre-order information can be found here.

The album will include the previously released “Get Away From Me (I Think I’ll Love You),” the album’s closing track ” “I Wish” feat, Aussie folk sibling duo The Maes, “The Hardest Thing,” and the album’s latest single “If I Had The Hand of God,” a jangling that’s one-part song-as-story bit of country and one-part indie rock anthem. Written about a surreal trip to Nashville, “If I Had The Hand of God” is a lived-in, introspective meditation on the life of a touring musician and the importance — or unimportance — of legacy that’s both earnest and drenched in a bit of irony.

Directed by Nick Mcck, the accompanying video for “If I Had The Hand of God” begins with Jacklin making a call in a hotel room, before allowing the acclaimed Aussie wandering around Las Vegas with equal parts awe, exhaustion, bemusement and confusion. Oh and there’s a feathered showgirl hat at some point that looks incredibly heavy.

New Video: Allegories Return with Atmospheric and Uneasy “Pure Comedy”

Canadian experimental pop duo and JOVM mainstays Allegories — childhood friends Adam Bentley and Jordan Mitchell — will be releasing their newest album, By accident, On purpose on October 16, 2026. 

The new album will include “Honestly, that’s enough honesty” “They’ll Never Suspect Us” and the album’s latest single “Pure Comedy.” “Pure Comedy” shifts through dream pop, indie rock, ambient electronic music and electro pop with settling into any easily identifiable genre or style while restlessly vacillating between optimism and pessimism, intimacy and aggression, hope and resignation. And it’s all done in a way that feels grounded in the psychological realism of a world that’s gone as mad as ours.

By accident, On purpose‘s latest single evolved alongside the album, with the JOVM mainstay outfit working on the song throughout the years-long writing and recording process. Rather than discarding each previous incarnation as the track gradually changed shape, fragments survived, leaving different eras of the song’s creation embedded within the finished track.

“This is the song that I think best represents our new album,” Allegories’ Adam Bentley explains. ” “There are elements from many different iterations of the song still in there, and sonically, it feels like it touches on the kaleidoscope of sounds and genres that the record eventually became.”

New Audio: Niia Shares Two Previously Unreleased Tracks off “V (Goth Jazz Edition)”

Born Niia Bertino, Niia is a Needham, MA-born, Los Angeles-based classically trained composer, pianist and vocalist. Deeply rooted in jazz, her work blends elegance, edge and a timeless voice with razor-sharp, seemingly lived-in songwriting. Her fifth album, last year’s Spencer Zahn co-produced V was the culmination of years spent experimenting at the intersection of tradition and reinvention.

Existing in the tension between control and collapse, V saw the acclaimed Los Angeles-based artist seamlessly blending the electronic textures of contemporary, experimental pop with the interplay of live, jazz-rooted instrumentation and musicianship. The album’s arrangements stretch — sometimes restrained, sometimes theatrical– but always with intention. As a classically trained musician, who grew up watching Italian cinema, Bertino explains, “I pulled from the harmonic language of jazz pianists like Bill Evans and from the psychological atmosphere of film scores.” 

Arguably, one of Bertino’s most personal albums to date, V thematically explores the full spectrum of the self — self-harm, self-delusion, self-awareness and in rare moments, self-love. “Not in a moralizing way, but in a very human one,” she adds. “The good and bad live side by side, often in the same verse. One minute I’m performing heartbreak like it’s a role I’ve rehearsed, the next I’m quietly admitting I caused the whole thing. That contradiction is the truth.”

The album featured “Pianos and Great Danes,” which I wrote about on this site.

Last week, Bertino released V (Goth Jazz Edition), a deluxe edition of her acclaimed fifth album through Candid Records. V (Goth Jazz Edition) features three bonus tracks, a cover of Chet Baker‘s “I Get Along Without You Very Well (Except Sometimes) and two, previously unreleased tracks “Been A Long Night” and Show Me Love.” “There were a few directions on the album that I still wanted to explore a little deeper, and these new songs felt so connected to the world of V that they really wouldn’t have made sense anywhere else,” Niia says of the deluxe edition of V.

“Been A Long Night” features an intricate, jazz-driven arrangement of broodingly cinematic piano and a supple yet propulsive bass line with skittering drum ‘n bass-meets footwork-styled beats beneath the acclaimed Los Angeles-based artist’s yearning delivery. While being both club and lounge friendly, “Been A Long Night” is rooted in a late-night longing and desire that’s simultaneously fun and a little dangerous.

“Show Me Love” is a slow-burning, gorgeous, Quiet Storm-like tune that showcases Niia’s effortlessly soulful, pop star vocal confessing a desire to wholly accept and love while asking her lover to show some much-needed vulnerability. “Show Me Love” may arguably be the deluxe edition’s most straightforward yet earnest tune.

New Audio: Elena Pinderhughes Teams Up with Immanuel Wilkins on Ethereal and Soulful Debut Single “life goes on”

Raised in the Bay Area’s progressive cultural landscape, Elena Pinderhughes is a groundbreaking composer, flutist and vocalist, who has become known for expanding jazz’s emotional range by crafting music that’s tender and sensual, mysterious and direct and grounded in a feminine creative vision without apology. Her work channels an unguarded, deeply personal voice that few in the genre have dared to show.

Informed by shaping the music of her collaborators, Pinderhughes’ work sees her seamlessly weaving R&B and neo-soul while being rooted in the jazz tradition.

Pinderhughes debut single as a solo artist “life goes on” feat. Immanuel Wilkins follows a decade of being one of the most sought-after collaborators across genres and styles: She has toured with Herbie Hancock and Chief Xian aTunde Audah, played at Coachella with Future and Metro Boomin — and sh has appeared on tracks by Giveon, Victoria Monét, Ambrose Akinmusire, Robert Glasper, Esperanza Spalding, Common and a lengthy list of others.

While marking Pinderhughes’ bold step forward into the spotlight as a solo artist, “life goes on” features two of jazz’s most distinct young voices playing off one another as they trade and weave lyrical flute and saxophone lines over a harmonic piano and a propulsive rhythm section and bursts of Kid A and Amnesiac-like-glitchy electronics. The result is a composition that’s ethereal yet soulful, cinematic yet deeply introspective while effortlessly pushing the boundaries of contemporary jazz.

“I’ve been playing the flute for almost my entire life, and for so much of that time I was searching…learning everything I could, trying different things, and figuring out what actually sounded like me,” Pinderhughes says. “Somewhere along the way, I started to hear a voice emerge that felt like my own. That’s what feels different now. I’m not searching in the same way anymore. I feel like I have a sound I believe in and something of my own to say with this instrument. And now I want to show you what the flute can do. I want people to hear how powerful, beautiful, intimate and alive it can be. ‘life goes on’ feels like the beginning of a much bigger story I want to tell about what the flute can be.”

New Audio: TOMORA Shares Dazzling and Euphoric “Celebration”

TOMORA is a collaborative project featuring:

  • The Chemical Brothers‘ Tom Rowlands: As one-half of The Chemical Brothers, Rowlands has produced and recorded six widely acclaimed UK #1 albums and won six Grammy Awards.
  • Norwegian artist AURORA: AURORA has released four studio albums and has quickly become one of Norway’s most influential and globally recognized contemporary artists. Her single “Runaway” has amassed over one-billion Spotify streams to date.

TOMORA builds upon a creative relationship that can be traced to the recording sessions for The Chemical Brothers’ 2019 album No Geography. AURORA contributed vocals to three tracks, including “Eve of Destruction.” Rowlands then went on to contribute to AURORA’s 2024 effort, What Happened to the Heart?, which landed on the UK Top 10.

Released earlier this year through Capitol Records, the duo’s full-length debut, COME CLOSER was written and produced jointly by Rowlands and AURORA. The 12-song album sees the duo pairing the Norwegian artist’s distinctive vocal with the acclaimed British producer’s unparalleled studio expertise. The album sees the duo creating their own unique space, somewhere they can produce the kind of magic that comes from flicking through a perfect record collection, flowing from wigged-out 1960s psychedelia to the hyper-futurism of sounds imagined for the 2060s. 

The critically applauded album includes the previously released singles “COME CLOSER” “SOMEWHERE ELSE” and “I DRINK THE LIGHT.”

After two wildly successful tour runs that included festival sets at Coachella, Fuji Rock and others, the duo went to Rowlands’ Sussex, UK-based Rowlands Audio Research Studio to record COME CLOSER‘s highly-anticipated follow-up, the five-song CELEBRATION EP. Slated for an October 16, 2026 digital release and a November 27, 2026 physical release through Capital Records. The physical release will include a standard 12″ black vinyl, a special marbled vinyl and CD formats. You can pre-order the EP here.

The acclaimed duo say of the EP: “Celebration is a privilege. Celebration is a person. Celebration is a funeral and celebration is a ritual. It’s human nature. And it’s a human need. We should all be celebrated, as real human beings.”

The new EP will include the expanded, ten-minute version of album track, “IN A MINUTE,” and EP title track “Celebration.” “Celebration” features a dazzlingly hypnotic production anchored around motorik-like electronic pulse and club rocking, thumping beats beneath AURORA’s imitable, ethereal and yearning delivery. The result is a track that feels simultaneously immediate and expansive, introspective yet outward-looking, and yearning for ecstatic release.

New Audio: Leon Bridges Returns with Sultry and Soulful “Watch You Dance”

Atlanta-born, Fort Worth, TX-raised singer/songwriter and musician Leon Bridges quickly established himself as one of America’s most exciting new artists with 2015’s platinum-certified, Grammy Award-nominated debut Coming Home, which featured breakout singles “Coming Home” and “River.” Bridges followed up with 2018’s critically applauded Good Thing, which saw him expanding upon his sonic panic while earning a Grammy Award-nomination for Best R&B Album and a Grammy Award for Best Traditional R&B Performance for “Bet Ain’t Worth the Hand.”

2021’s Gold-Diggers Sound was the acclaimed Atlanta-born, Fort Worth-based artist’s most adventurous album to date, and the album received critical applause while earning another Grammy Award-nomination for Best R&B Album. His most recent album, 2024’s Lean is an introspective effort inspired by his Texan roots and his artistic evolution.

Along with his solo work, Bridges has collaborated with the equally acclaimed act Khraungbin on two albums — 2020’s Texas Sun and 2022’s Texas Moon. In a relatively short time he has earned six Grammy Award-nomiations — three for Best R&B Album — and a Grammy Award-win, has also collaborated with an eclectic array of artists, including John Mayer, Kacey Musgraves, Robert Glasper, Terrace Martin, Gunna, The Avanlanches, Gary Clark, Jr. and Shaboozey, all of which showcase a remarkably versatile artist.

Adding to a rapidly growing profile, Bridges has a long-held reputation as a captivating live performer, who has made a run of the global concert and festival circuit, playing an increasing number of the world’s major festivals while making appearances on Saturday Night Live, NPR’s Tiny Desk Concert and Austin City Limits.

Bridges’ fourth album, the J Lloyd-Watson and Lydia Kitto-produced fifth album, Happiness Anytime is slated for a Friday release through Columbia Records. Happiness Anytime reportedly sees the acclaimed Atlanta-born, Fort Worth-based artist returning to the warmth of his 2015 debut but while seeing the members of Jungle and Bridges’ signature sensibilities blending to create something entirely new — an expansive, borderless sound and approach that pushes the Grammy Award-winning artist into brand new territory. The material reportedly echoes Fela Kuti, Paul Simon’s 1990 effort The Rhythm of The Saints and Jorge Ben without feeling overly referential. At its core, the album is reportedly boundary pushing while remaining unmistakably Leon Bridges, rooted in his imitable vocal, effortless charisma and melodic sensibilities.

The album was written and recorded across three fast and furious sessions with Lloyd-Watson and Kitto, a collaboration that can trace its origins to the trio repeatedly crossing paths across the global festival circuit. The trio decided to attempt a low-pressure writing session at Los Angeles-based Chaplin Recording Studios. Four days later, they had come up with six songs — half of the completed album. Pino Palladino contributed bass during the sessions. The overall end result is a timeless body of work that feels unfussy and breezy — that they all hope will make the listener feel happiness anytime they play it.

“For me, happiness is not a feeling that you chase,” Bridges says,“I want this album to be something that lingers with people and lingers in people’s bones. There’s this feeling that we have to fix the problems of the world; you feel inadequate or it can be debilitating. My role is to be light. I hope that comes across with this album.” With Happiness Anytime, Bridges actively sets out with a desire to not only find joy but to find movement again.

Early in his career, Bridges was out in front dancing — and that was something that has wanted recently. He wanted to get back to making music to dance to, music to excise the stresses and frustrations of modern life, and to feel grounded in the rhythms of the present. Interestingly, over the summer, he has been introducing audiences to the new album with sets in Paris, Cannes, Los Angeles, Montreux Jazz Festival, London, Chicago and Outside Lands. And as he has being playing the new material live, he has unveiled “Leon Bridges Presents Happiness Anytime,” a reimagined stage production featuring a vinyl DJ, a horn section, three backing vocalists and Bridges out in front dancing and singing. Partly inspired by the communal spirt of Jamaican dancehall culture, the live set mirrors the album’s emphasis on movement — and on dancing your stresses and frustrations away for a bit. You can see what the live show will look like during his most recent appearance on The Tonight Show Starring Jimmy Fallon, where he performed medley of tunes from the soon-to-be-released album — the strutting Afrobeat-meets-1970s Motown soul-like “Light The Way” and “Illusion” and jubilant, joyous ode to working things out “Talk It Over.”

“Watch You Dance,” Happiness Anytime‘s latest single is a strutting and sultry bit of neo-soul meets classic soul that feels like a funky, dance floor friendly synthesis of Black Pumas, Cody Chesnutt, Daptone Records and Marvin Gaye‘s “Got To Give It Up” but anchored in old-school craft, earnest, seemingly lived-in lyricism and a grown ass folks sensuality. The song’s narrator knows that seduction is a game that you have to play — and he knows how to play it well.