JOVM’s William Ruben Helms celebrates Daniel Ash’s 68th birthday.
Category: music video
New Video: poor effort. Shares Throbbing “talking mouth (on & on)”
Salford, UK-based singer/songwriter Matty Dagger is the creative mastermind behind the rising British synth punk project poor effort. Emerging last year with a run of pithy singles that included “You’re Wrong, I’m Right (Symphony)” and “HRMC,” which received coverage from DIY Magazine and Louder Than War, as well as airplay on BBC 6 Music. Those two singles saw Dagger quickly establishing a sound and approach that saw him parting trippy beats and pencil-sketch riffs with relatable humor. While being a barrage against a surrender to bleakness and hopelessness, the Salford-based artist has specifically set out to cultivate a distinct environment of lo-fi storytelling.
The Salford-based artist built upon a growing profile by playing with a rotating cast of musicians in venues across the region, including Colours Hoxton and The Eagle Inn — with more shows scheduled throughout the rest of this year.
Dagger’s Dean Glover-produced poor effort self-titled EP reportedly sees him dipping in and out of alternative hip-hop, post-punk and electronica while inspired by Benefits, Sleaford Mods and Kate Tempest and lengthy lockdown periods in which he put self-taught production techniques and poetry to tape.
The debut EP is slated for an October 3, 2025 release through Manchester-based Home Taping in partnership with EMI North. The EP will feature the previously released “City of Hope,” which received airplay from BBC 6 Music, BBC Introducing Manchester and Radio X. The EP’s latest single “talking mouth (on & on)” continues a run of material anchored around a minimalist as maximalist ethos that reminds me a bit of JOVM mainstays The Vacant Lots. Featuring a throbbing and propulsive bass line, driving beats and a glistening synth melody, the song’s instrumentation serves as a woozy bed for Dagger’s laconic delivery.
Thematically, the song address the chaos of communication overload and how “conclusion arrives before irony does in the slow death of nuance,” according to Dagger.
“At first ‘talking mouth’ was a lot faster and more of a thrashy garage punk song, but I struggled to get the chorus to feel right at that pace. I slowed the tempo down and found that this let it breathe a lot more while still maintaining its distinct drive,” the rising Salford-based artist says. “The synth melody and sequencers then transformed the nature of the song completely. The initial recordings are still lying around somewhere, maybe I’ll put them on the bonus compilation in 2050.”
Fittingly, the accompanying video features Dagger and band performing in a studio, shot in a grainy security-style footage with an explosion of handwritten song lyrics and musings, typed out words, Polaroid photos and more.
Throwback: Happy 80th Birthday, David Sanborn!
JOVM’s William Ruben Helms celebrates the 80th anniversary of David Sanborn’s birth.
Throwback: Happy Belated 52nd Birthday, Wanya Morris!
JOVM’s William Ruben Helms belatedly celebrates Wanya Morris’ 52nd birthday.
New Video: Dutch Mustard Shares Breakneck and Escapist “Life”
Dutch-born, London-based artist Sarah-Jayne “SJ” Riedel is the creative mastermind behind the rising indie recording project Dutch Mustard. With Dutch Mustard, Riedel blends ethereal dream pop, 90s alt-rock with shoegaze touches to create a soundscape that features painterly and swirling guitar textures while the Dutch-born artist’s vocals drift between a near whisper and yearning, heavenly arching shouts.
Riedel and Dutch Mustard exploded into the British scene with the release of 2022’s debut EP An Interpretation of Depersonalisation, an effort that was featured by the BBC while receiving airplay on BBC Radio 1’s Future Artists with Jack Saunders and a co-sign from the legendary Iggy Pop.
2023’s sophomore EP, Beauty received airplay from BBC Radio 6’s Lauren Laverne and co-signs from Don Letts and Amy Lamé. Adding to a growing profile, The Independent, The Line of Best Fit, Clash, Dork and Notion have all covered her — and The Grammy Awards selected her a one of 6 Female Fronted Acts Reviving Rock, along with Wet Leg.
Since then, the Dutch-born, London-based artist has been busy: She has released a couple of singles — two of which I’ve written about here: “Loser” and “Dreaming,” which was released earlier this year. She followed that up with her Stateside debut at The New Colossus Festival earlier this year. Building upon a growing international profile, Riedel’s latest single, the Dean James Barrett, Craigie Dodds and Riedel co-written “Life” is a breakneck, Brit Pop meets industrial punk-like track anchored around taut, skittering beats and buzzing power chord-driven riffs that continues a run of material that showcases her unerring knack for crafting catchy, rousingly anthemic hooks. While being one of the punchiest songs of her growing catalog, “Life,” as she says “is the soundtrack to that heartbreak you should’ve seen coming, when everything gets so chaotic and absurd, all you want to do is tap out for a minute.”
Directed by Josiah Newbolt, the accompanying video is split between gritty black and white shot footage of Riedel and her backing band out in the streets, as we follow her to a studio for a carefully choreographed dance routine. The result is an urgent and vivid fever dream.
New Video: Public Circuit Shares Twinkling and Percussive “To The Grave”
Although they formed back in 2023, rising New York-based electronic music trio Public Circuit — Ethan Beaumont (vocals), Sean Holloway (drums) and Nelson Fisher (electronics) — exploded into the scene with last year’s full-length debut, Lamb, which they supported with sold-out shows across 30 states, including a run of the domestic festival circuit with sets at New Colossus Festival, Hopscotch and MACROCK. Building upon a growing profile, the trio’s highly anticipated sophomore album Modern Church is slated for a September 12, 2025 release through à La Carte Records.
Modern Church reportedly sees the New York-based trio dismantling and reassembling post-punk with surgical precision. The pretense of retro revivalism is swapped out for something much sharper, darker — and entirely their own. Sonically rooted in the trio’s newfound sense of collaboration between each other, the album’s material features angular electronic instrumentation and raw percussive rhythms bathed with the high gloss ache of sophsitipop.
Thematically, the material is overtly religious. But it’s used as an analogically tool to explore sexual identity, the fleeting faith of society and the illicit repercussions of unresolved trauma. And much like its immediate predecessor, the new album continues a run of material deeply influenced by New York’s constant feed of noise and relentless energy.
Modern Church‘s second and latest single “To The Grave” sees the rising New York trio pairing twinkling synths with relentlessly driving rhythmic pulse in a way that reminds me a bit of Information Society’s “What’s On Your Mind (Pure Energy)” and Violator-era Depeche Mode while rooted in a deeply neurotic and unresolved tension — and a deep seated fear to live in one’s truth.
“Life is frail – Many people live a life where they never fully resolve trauma, hatred, etc., and, therefore, take it to the grave with them,” the members of Public Circuit explain. “Whether it be childhood trauma, gender expression / exploration, or failed romances; this song is inspired by moments left unresolved or, otherwise, unspoken.”
Shot on grainy VHS by Nara Avakian and edited by the band’s Ethan Biamont, the accompanying video for “To The Grave” follows the members of the band as they dig a grave and then bury a body in the woods — a secret that has to be kept until death.
Throwback: Happy 72nd Birthday, Geddy Lee!
JOVM’s William Ruben Helms celebrates Rush frontman Geddy Lee’s 72nd birthday.
Throwback: Happy 76th Birthday, Roger Taylor!
JOVM’s William Ruben Helms celebrates Roger Taylor’s 76th birthday.
Throwback: Happy 82nd Birthday, Mick Jagger!
JOVM’s William Ruben Helm celebrates Mick Jagger’s 82nd birthday.
New VIdeo: Tame Impala Shares Euphoric and Trippy “End Of Summer”
Tame Impala’s latest single “End Of Summer” is the first bit of new material from the acclaimed Aussie multi-instrumentalist, producer, and singer/songwriter Kevin Parker since 2020’s The Slow Rush — and is the first release on his new label home Columbia Records.
“End Of Summer” sees the Tame Impala mastermind pushing his acclaimed project into a completely new direction as the euphoric track channels acid house, deep house while still remaining trippy and mind-bending.
“End Of Summer” is accompanied by a narrative visual directed and edited by multi-disciplinary artist Julian Klincewicz that follows Parker in the creation of the song, while on an abandoned train car and wandering through the streets of a city in a fashion that kind of reminds me of Purple Rain.
New Video: Faetooth Shares Forceful and Stormy “Hole”
Led by Jenna Garcia (vocals, bass), Los Angeles-based outfit Faetooth specializes in a sound that they’ve dubbed “fairy-doom:” a unique and eclectic amalgamation of doom metal paired with vocals that alternate between spellbinding melodies to guttural shrieks and howls.
Last month, the Los Angeles-based outfit announced their highly-anticipated sophomore album Labyrinthine will be slated for a September 5 release digitally through AWAL and on vinyl and CD by The Flenser. Labyrinthine will reportedly see the band further establishing their “fairy-doom” sound while embracing a newly softened, more intimate tone, anchored around emotional rawness.
Throughout the album, the material touches upon themes of loss, self-pity, personal relationships and more. The inmate balance doesn’t dilute their intensity; rather it reframes it, offering listeners a haunting yet delicate atmosphere, layered with entrancing textures that build up to explosive catharsis. The result is an album that’s a hauntingly visceral and disturbing vision, anchored by deep introspection.
Labyrinthine will feature the previously released, “Death of Day” which to my ears channeled the likes of Tool and JOVM mainstays Slumbering Sun, and “White Noise,” a bruising ripper rooted in a palpable and unsettling mix of anguish, despair, loathing and fury that feels both lived in and deeply familiar.
“Hole,” the album’s latest single is a slow-burning and meditative doom metal dirge that slowly builds up into a bruising and stormy intensity, fueled by a lived in urgency and desperation to get away from a seemingly fucked up past and fucked up cycles of dysfunction, abuse, etc. And much like the previously released singles, “Hole” does so with an innately empathetic sensibility that says to the listener “I’ve been there. You aren’t alone.”
“’Hole’ is a meditation on the choice of confronting the past, or burying it,” the band’s Jenna Garcia explains. “Sobering, waking, realizations of cycles find themselves bared, culminating in an invocation-like verse that declares severance to all ties to a creeping past.”
Directed by Joe Mischo, the cinematically shot visual for “Hole” follows a a woman frantically running through a wooded countryside that includes madness, regret, possession and witches.
New Audio: Street Eaters Share Furious and Impassioned “Tempers”
Oakland-based post punk outfit Street Eaters — co-founders Megan March (vocals, drums) and John No (bass, vocals), along with Joan Toledo (guitar) — will be releasing their long-awaited and highly-anticipated fifth album, Opaque on September 5, 2025 through Dirt Cult Records. The seven-song album reportedly sees the trio attempting to stitch up the bloody wounds of their past while being a meditation on birth, death, excavated trauma, and trying to find steadfast kinfolk in a world that’s increasingly splintered, fucked up and cruel.
Much like all of us, Street Eaters have been through the wringer a bit since 2017’s The Envoy.
The band’s guitarist Joan Toledo, left a transphobic family and government in her native Florida, eventually relocating to San Francisco, where they became an editor at Maximum Rocknroll Magazine and a radical union organizer at the world famous City Lights Books.
The band’s front woman Megan March had a child. And while becoming am other was, as she puts it, “and incredible joy and opportunity to rewire emotional pathways and deep wounds,” it was also a reminder of her own childhood: March’s mother was violently homophobic and eventually threw Megan and her teenage sister — both queer — from their childhood home.
For March, childbirth was both a traumatizing and transformational experience. Ironically born on July 4, her baby immediately entered a world steeped in bureaucracy: The hospital was so understaffed that March was neglected until the last moment and was forced to endure an emerging C-section. “I was borderline dehumanized by the toxic, misogynistic nature of the American medical system and its focus on efficiency and profit before care,” she says.
“Opaque is a record that gets deep into the stark and beautiful reality of growth and transition from trauma and loss,” Street Eaters’ March explains. “What does it mean to wake up one day and realize you are living the way you have always demanded to live — yet with all those jagged piles of emotional, physical, and social/political baggage still slicing through the veil?” The album isn’t just confrontational; it’s complicated. It sees the band, much like the rest of us, groping towards identity, understanding, and a place in the world in the process of being curated. “It’s a transition into finding peace with the world — a resonant connection with community and chosen family, getting beyond a lot of the pain and hurt,” the band’s John No says. “We’re trying to suture up wounds at this point and create something that’s healthy.”
Opaque‘s first single “Tempers” is a furious, adrenaline pumping ripper featuring scuzzy, serrated power chords, thunderous guitars and March’s urgent and impassioned vocals. March says, the song is about “being in isolation and not being sure what the future is going to be like and how things will be when the storm is over.”
The accompanying video directed by Krista Wright and Theo Garvey, in a hospital waiting room, where no one ever seems to get helped with anything. The band turns the hospital room into a stage that they rip up with a furious performance of the song.
Throwback: Happy 60th Birthday, Slash!
JOVM’s William Ruben Helms celebrates Slash’s 60th birthday.
Throwback: Happy 64th Birthday, Martin Gore!
JOVM’s William Ruben Helms celebrates Depeche Mode cofounder Martin Gore’s 64th birthday.
New Video: Automatic Returns with Trip Hop-Inspired “Mercury”
Formed almost a decade ago, Los Angeles-based post punk outfit Automatic — Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals) and Halle Saxon Gaines (bass, vocals) — have released two albums:
- Their full-length debut, 2019’s Signals saw the trio quickly establishing their sound, which paired motorik grooves with icy atmospheres.
- Their sophomore effort, 2022’s Excess saw the band sonically riding an imaginary edge where the 70s underground met 80s corporate culture.
After they finished touring to support their sophomore album, each member of the trio pursued their own interests: Glaudini honed her skills as a producer; Saxon Gaines enrolled in botany classes; and Dompé got married, moved out to the country and began caring for horses.
With two albums under their collective belts, the trio wanted to do something different for their third album. Slated for a fall release through Stones Throw Records. Is It Now? sees the trio collaborating with producer Loren Humphrey to build upon the sound of their previous releases — minimalist yet danceable songs, which they describe as “deviant pop.” Throughout the album’s recording process, Humphrey encouraged the band to play live and loose through long takes that allowed the rhythm section to breathe.
Is It Now? will feature album title track, “Is It Now?,” a continuation of the sound they’ve established through their first two albums, while simultaneously being a subtle refine with one of the tightest grooves they’ve written to date with their unerring knack for catchy hooks. And at its core, the song expresses a deeply modern sense of unease and restlessness.
Is It Now?‘s second and latest single, “Mercury” is a brooding and slow-burning, trip hop-like track featuring glistening synth stabs and a propulsive backbeat sample that’s heavily inspired by the Stones Throw catalog. The band’s Izzy Glaudini says, the song’s lyrics are a reminder “not to fall into nihilism or cynicism, to instead see life through a bit of a spiritual lens.” She adds, “Despite the horrible shit constantly happening, life can still be mysterious and beautiful. I wanted to lean into a sense of dreaminess, and to have the verses feel like a dark lullaby.”
Directed by Sira Sounds, the accompanying, dreamily shot visual features the trio — both individually and as a unit — drinking from a goblet with green liquid.