Category: music video

Video by William Ruben Helms

New Video: Trentemøller and The Raveonettes’ Sune Rose Wagner Team Up on Stormy “Your Love Walks Alone”

Anders Trentemøller’s self-titled eighth Trentemøller album is slated for a November 13, 2026 release through his In My Room Records. The self-titled album will include the previously released “Terrified” feat. Mew‘s Jonas Bjerre and the album’s latest single “Your Love Walks Alone” feat. The Raveonettes‘ Sune Rose Wagner.

“Your Love Walks Alone” is a stormy touch song featuring Wagner’s imitable delivery expressing despair, confusion, heartache and anger set to a brooding goth-inspired soundscape of scorching industrial-meets-shoegaze like fuzz, thunderclap-like beats. “A depiction of pure love slowly winding down and how it affects you in those moments where you realise you’re being ‘replaced,” Wagner says.

Trentemøller traces this collaboration back to an earlier collaboration: “Ever since Sune sang on my track ‘Deceive,’ we’d been talking about doing another song together. This time I had an instrumental that felt right for his voice, so I sent it over. He loved it, and pretty quickly came back with that great vocal that’s unmistakably Sune / The Raveonettes. With ‘Your Love Walks Alone,’ I feel like he hit the mood of the music perfectly. What I love is how the vocal melody is kind of ‘happy’ in a way, when the lyrics are actually pretty dark. It makes for a good contrast against the more brooding, insistent sound underneath. “

The accompanying video by DACU features brightly colored child-like, hand-drawn animation that captures the sentiment of the song while being simultaneously trippy and menacing.

Video by William Ruben Helms

Throwback: Happy 90th Birthday, Bill Wyman!

JOVM’s William Ruben Helms celebrates Bill Wyman’s 90th birthday.

Video by William Ruben Helms

New Video: St. Panther Shares Strutting, Old School-Inspired “OUT ON THE CORNER”

Los Angeles-based Mexican/Colombian producer, singer/songwriter, rapper and multi-instrumentalist Dani Bojorges-Giraldo (they/them) is the creative mastermind behind the critically applauded recording project St. Panther. Bojorges-Giraldo’s previously released work was the soundtrack to the early part of this decade for many folks, but following their departure from the major label network, the Los Angeles-based artist took time to be among their peers, friends and loved ones. 

Last year’s McClenney and Bojorges-Giraldo co-produced EP Strange World featured a defiant, genre-transforming collection of soulful, modern pop songs that narrate and confront the wider climate of uncertainty and oblivion. Thematically, Strange World was as much about Bojorges-Giraldo’ and their world — their village, their people, themselves — but also, the very strange world we inhabit right now. Drawing from soul, R&B, jazz, hip-hop and alt-pop the EP’s material sets out to urge for a sense of purpose, security and love admits seemingly universal apathy and chaos. 

The EP featured the EP title track “Strange World,” the old-school Quiet Storm-meets D’Angelo-like “The Deal” and “American Dreams.”

Bojorges-Giraldo’s highly anticipated McClenney co-produced St. Panther full-length debut, East Side Love Story is slated for a November 20, 2026 release through Los Angeles-based label drink sum wtr. East Side Love Story is reportedly an effervescent, soulful set of love songs dedicated to both their hometown and their neighborhood. Work began subconsciously when the rising and acclaimed Los Angeles-based artist started Shazamming songs that their neighbors were playing every day, populating a playlist that they playfully titled “East Side Love Story,” a nod to their cat’s bustling social life. “She’s a stray, literally got her from my neighborhood outside. She has a roster of boyfriends who come to visit her at the door and window. Pretty soon, my life started mirroring hers,” explains Bojorges-Giraldo. East Side Love Story traces seasons of relationships, from the ecstasy of newness to the pitfalls of monogamy, the distance between one another on respective paths, and an evolving understanding of love in its totality.

Coloring their craft with their surrounding neighborhood and culture, the acclaimed Los Angeles-based artist’s full length debut captures a chapter in their life defined by freedom and love. Continuing their ongoing collaboration with McClenney, Bojorges-Giraldo sees the album as a culmination: “I’ve been able to apply my influences and build a world around what my signature is, pulling the best of my performances and musicality, figuring out the place that I want it all to sit.” 

East Side Love Story’s latest single “OUT ON THE CORNER” is a strutting blend of Chicano and Motown-era soul featuring twinkling keys, old-school soul drum fills, a supple bass line and soul/funk guitar stabs beneath Bojorges-Giraldo’s soulful, lullaby-like croon . While showcasing their uncanny knack for pairing catchy hooks with earnest, lived-in lyricism, “OUT ON THE CORNER” details the often complicated and fleeting nature of modern romance with a sweet, old school-inspired charm. Lemme tell y’all, sometimes a sweet love song is what you need when the world is on fire and everything is seemingly full of hopelessness and doom. I say that because life, dear friends, is often about the small moments — especially the seemingly endless process of falling in love, falling out of love, heartbreak and repeat.

“I was pacing around my apartment singing the ‘oo’s’ and quickly picked up my Cordoba to try and sound out the chords,” Bojorges-Giraldo says of OUT ON THE CORNER’S creative process. “That demo was like an ear worm, it lent all the space for a Motown approach but we still needed a modern touch. After reworking it with Chris (McClenney) I called in Brian Gazo to track some “oo’s” on top of mine. There’s these isolated moments that crack a whole album open, hearing Brian’s first takes was exactly that. By the end of that session his vocals were on four songs on the album.” 

They continued: “What was important to me was capturing this particular moment in time on a record. I think we’ll look back on records like this and be able to appreciate that from Boyle Heights to Long Beach we were a movement of brown artists, the next generation of the music we grew up loving. To be able to have him across the album felt just right, like a family photo that will be passed down for generations.”

Directed by St. Panther and Khari Cousins, the accompanying video for “OUT ON THE CORNER” follows the acclaimed Los Angeles-based artist through their neighborhood and hometown, lovingly capturing its soul and character, as well as the warmth and kindness of its people.

Video by William Ruben Helms

New Video: JOVM Mainstay Super Plage Shares Breezy “MINI CLUB”

Jules Henry is a Montréal-based singer/songwriter, electronic music producer and creative mastermind behind the acclaimed, JOVM mainstay recording project and Super Plage. Founded back in 2019, Super Plage sees Henry crafting slickly produced, dance floor friendly electro pop that draws from house and nu-disco. He frequently collaborates with local French Canadian artists to create a playful, fun-loving and escapist universe, where it feels good to party. 

Since 2019, Henry has released a handful of albums including 2023’s Magie á minuit, which received an ADISQ Félix Award-nomination for Electronic Album of the Year. Building upon a growing profile, Henry has made a run of both the provincial and international festival circuits, playing sets at Francos de Montréal, FME and Festival d’été de Québec, SXSW, Wide Days and others. He has opened for Miel de Montagne, Juilen Granel, Bon Entendeur, MYD and more. 

Last year’s GROSSE MAISON featured a sleek and daring blend of house, disco and French touch anchored around catchy, downright funky grooves, much like on album single “Tip Top.” 

The French Canadian JOVM mainstay’s fourth album MINI CLUB was just released today through his longtime label home, Lisbon Lux. MINI CLUB sees Henry solidifying his place within Québec’s electronic music scene while bridging the project’s multiple sonic identities throughout its history — the electro pop of MINI CLUB track “PARIS” the house music of last year’s GROSSE MAISON and a decided shift towards tech house of “SÉOUL” feat. Zéa Calla. Rooted in synth and digital driven textures, there is more than enough room for organic textures throughout — including everyday sounds recorded in the studio and on Montréal’s streets. The album’s material sonically is suited for both the club and chilling in the park, but lyrically, it’s rooted in observations and thoughts on everyday life.

MINI CLUB is arguably one of Henry’s most collaborative efforts to date — fellow JOVM mainstay Virignie B.; Zéa Calla, a childhood friend, who he reconnected with; and Hawa B have contributed both vocals and songwriting to the album.

The album includes the previously released “POOL PARTY” featuring longtime collaborator Virginie B. and the album’s latest single, album title track “MINI CLUB.” “MINI CLUB” is a club and lounge friendly that nods a bit at Larry Levan-era house with a looping whistled melody, twinkling and bubbling synths, wobbling bass and skittering beats beneath Henry’s ethereal cooing and crooning.

Directed by Henry, the recently released accompanying video follows Henry as he’s barbecuing in a Montréal park and lounging by a pool — all while playing the song. With fall in full effect in the Northern Hemisphere, the video and the song are a fond reminder of summer — and of summers to come.

Video by William Ruben Helms

New Video: London’s Black Doldrums Shares Broodingly Cinematic “Echoes”

London-based post punk trio Black Doldrums founding duo Sophie Landers (vocals, drums) and Kevin Gibbard (vocals, guitar) with newest member Matt Holt (bass) — will be releasing their third studio album Repetition Compulsion on November 13, 2026 through Fuzz Club. Deriving its title from a psychological concept first explored and named by Freud, the recently announced album is the final part of the London-based band’s State of Mind Trilogy, a three-album exploration of the psychological forces that shape identity, memory and human connection which began with their debut, 2022’s Dead Awake and 2024’s In Limerence. At the heart of all of their work is the creative and personal relationship between the band’s founding duo of Gibbard and Landers, whose relationship forms the emotional foundation for the forthcoming album — and the lens through which its themes are explored. As Gibbard explains, “These songs are either about Sophie, for Sophie, or inspired by her.” 

Thematically, the 11-song album reportedly sees the London-based trio exploring how repetitive patterns and behaviors shape intimate relationships, collective memory, politics and wellbeing in a way that’s both deeply personal and quietly universal. Through evocative songwriting and cinematic production, Gibbard says “the album invites listeners to confront the echoes of the past while questioning whether those patterns can ever truly be broken.” 

Inspired by 80s gothic post punk, synth pop, darkwave and the film scores of John Carpenter and Vangelis, Black Doldrums build on the emotional and sonic foundations of these influences to create something cinematic, modern and completely their own. Each of Repetition Compulsion‘s 11-songs has been crafted with intention, with the band balancing darkness with beauty to create a sod that’s melodic, broodingly atmospheric and with emotional depth. Listeners should expect to hear layers of analog synths, chorus pedal-soaked guitar and driving rhythms paired with an expansive production that gives each arrangement a sense of massive, cinematic scale. Rather than relying on nostalgia, the album presents post-punk as a living, ever-evolving form, with the band embracing atmosphere without sacrificing melody, introspection without loss of momentum and darkness without abandoning hope. 

Repetition Compulsion will feature the previously released “Repetition” “Compulsion” and the album’s latest single “Echoes.” “Echoes” is broodingly cinematic tune that’s seemingly a blend of Joy Division, Cocteau Twins and contemporaries like JOVM mainstays PLOHO and Molchat Doma as Gibbard’s remarkably Ian Curtis-like delivery glides over angular guitar attack, a relentless mototrik groove and glistening and arpeggiated synth figures.

Written in one go while the band was on tour, “Echoes” captures a rare moment of inspiration on the road. “This track was finally completed while touring and playing a show in Belgrade, Serbia, where the city’s warmth, creativity and discussions about local history inspired the song’s lyrics,” Black Doldrums’ Kevin Gibbard says. “Our time spent there won’t be forgotten. It’s one of those special moments and opportunities you wouldn’t have got if we weren’t in a band. I’ve never written a song whilst on tour before. Realistically, it never happens, but this one came out in one go, sat in the van.”

Directed by the band’s Sophie Landers, and filmed by Landers and Gibbard, the accompanying video for “Echoes” features the band playing in a hauntingly goth-like forest, and an abandoned, graffiti-strewn Cold War-era structure and the members of the band broodingly posing for the camera. It harkens back to the imagery of MTV‘s early days.

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Video by William Ruben Helms

New Video: Lisa LeBlanc Shares Strutting and Funky “Too Many Cooks”

Acclaimed Rosaireville, NB-born, Montréal-based singer/songwriter, multi-instrumentalist and Acadian icon Lisa LeBlanc will be releasing her sixth album Patchwork on February 5, 2027 through Bonsound. The roots of the album stretch from Moncton, New Brunswick to Lafayette, LA, two cities separated by about 2,200 miles/3,5000 kilometers, a distance that LeBlanc traveled in her van during a two month road trip. In the years leading up to the recording of Patchwork, Leblanc also spent time in Corsica, where she was struck by the rugged landscapes and in Ireland, where the cliffs and traditional music festivals brought her a new creative spark.

While nature plays a significant role for the album, LeBlanc channels her long-held love for 60s and 70s folk and rock to create a lush and rich tapestry of melodies, harmonies and grooves. The album also sees her drawing inspiration from traditional Cajun and Acadian music. The result is a sound that’s original, timeless — and singular. The album’s title is a nod to her grandmother, who, for over 50 years, has been making quilts meticulously from fabric scapes that weren’t originally meant to be sewn together.

Thematically, much like a travel journal, the new album offers observations of everyday life set to music with both sensitivity and humor.

Patchwork will include the previously released, rollicking “Whole Lotta Talkin‘” and the album’s second and latest single, the LeBlanc, Benoit Morier and Eric Heigle co-produced “Too Many Cooks.” A strutting and seamless blend of disco country, folk and Muscle Shoals-era soul “Too Many Cooks” may arguably the most playful and funky song LeBlanc has released to date, featuring contributions from Alabama Shakes‘ Ben Tanner and Dr. John‘s and Social Distortion‘s Ben Alleman on keys and piano; Sébastian Michaud on brass; Les Hôtesses d’Hilaire‘s Mico Roy on guitar; and Maxime Gosselin on drums. Based on the idiomatic phrase “too many cooks in the kitchen . . .,” “Too Many Cooks” points out what would happen when you’d have too many cooks in the kitchen: indecision, confusion, arguments, some sabotage, a wildly disgusting, poorly cooked meal and pissed off dinner guests.

“The music video for ‘Too Many Cooks’ is inspired by a reality cooking show where contestants host the other participants in their homes,” explains LeBlanc. “I’m competing against little mischievous puppets who are trying to sabotage my chances to win. Based on the turn of phrase ‘Too many cooks in the kitchen,’ it’s a quirky, kinda funky, kinda country fun tune!”

Video by William Ruben Helms

New Video Helena Deland Shares Shimmering “Tip of My Tongue”

2020’s debut studio album, Someone New, which was released by Luminelle Recordings introduced Montréal-based singer/songwriter and musician Helana Deland as a new and resonant voice to both the local and national indie scenes. She explored new soundscapes by teaming up with fellow Montréaler Ouri in the collaborative project Hildegard, which released two albums, 2021’s self-titled debut and 2024’s Jour 1596. And adding to a growing profile, Deland has collaborated with Men I Trust, JPEGMAFIA, Jonah Yano, Sam Evian, claire rousay and a lengthy list of others. During a remarkably busy period, Deland released her acclaimed sophomore solo album, 2024’s Goodnight Summerland through Chivi Chivi.

After opening for Weyes Blood, Andy Shauf, Connan Mockasin, Soccer Mommy and Iggy Pop, Deland supported her sophomore album with touring across North America and Europe.

Her highly anticipated third album, Eternity Shrugs is slated for a January 22, 2027 release through Chivi Chivi. Produced by Deland with longtime bandmates Francis Ledoux and Alexandre Larin, as well frequent collaborators Lysandre Ménard and Cedric Martel, Eternity Shrugs was recorded in rural Québec in bursts over four seasons. Piano, bass, organ, viola and woodwinds gather around her vocal and guitar in patient arrangements anchored by finely textured percussion. The result are songs that feel sparse one moment and subtly ornate the next. Deland imagines the album’s palette in browns — wood, leather, smoke. Warm and inhabited, the music never entirely settles.

Eternity Shrugs will include the previously released “How Do You Like Me Now,” and the album’s latest single “Tip of My Tongue.” “Tip of My Tongue” is a shimmering, dream pop-like tune featuring Deland’s breathy and expressive delivery floating over an vibey, autumnal arrangement of jangling acoustic guitar, bursts of shimmering synths, a gently chugging rhythm section driven by a simple yet propulsive drum pattern. But at its core is something left unsaid, an inner conversation between people with an intimate connection that has become a bit awkward yet still deeply familiar.

“I’m thinking of a long-awaited, momentous run-in, the kind that has kept a part of the mind alert,” Deland says. “Maybe you need to privately navigate how up-to-date on the other person’s life you’ve remained since the last time you spoke, or maybe you know a former version of them so well that the present-day one feels entirely, surprisingly familiar. The song was arranged with that feeling of familiarity in mind, like something that has been on the tip of my tongue for a long time.”

Directed by Jodi Heartz and Alex Blouin, the accompanying video for “Tip of My Tongue” is a dreamily surreal scenario that features Deland and her bandmates playing cards on a Montréal rooftop at a table set for 5. We see Deland as she delicately slides between both sides of the table, glancing at her hand of cards.

Video by William Ruben Helms

Throwback: Happy 102nd Birthday, Celia Cruz!

JOVM’s William Ruben Helms celebrates the 102nd anniversary of the birth of Celia Cruz.

Video by William Ruben Helms

Throwback: Happy 76th Birthday, Tom Petty!

JOVM’s William Ruben Helms celebrates the 76th anniversary of the birth of Tom Petty.

Video by William Ruben Helms

Throwback: Happy 55th Birthday, Snoop Dogg!

JOVM’s William Ruben Helms celebrates Snoop Dogg’s 55th birthday.

Video by William Ruben Helms

New Video: AN_NA Shares Glitchy Visual for Seething “Too Much”

French-born, Montréal-based married couple and electronic music duo AN_NA formed over three decades ago. And over the course of their lengthy careers, they’ve used their experiences within electronic music, industrial and experimental music scenes to create a unique sound that sees them frequently experimenting with different styles and genres. Their long-held penchant for experimentation has given them the space to evolve as artists, while keeping them open to new ideas and influences that they readily incorporate into their own songwriting approach. 

If you’ve worked in the music industry long enough, you’ll recognize that surveying longer than a few seconds in a hyper-competitive and often cutthroat industry is extremely difficult. But for the Montréal-based duo, they’ve credited their longevity to being true to their art — and to making music that they’re passionate about. 

“Too Much,” is the French-born, Canadian-based duo’s latest single — and the first since the release of 2024’s sophomore album More Pills. Arguably one of the more confrontational songs of the duo’s catalog to date, “Too Much” is a seething song, featuring propulsive, tweeter and woofer rattling, industrial thump and scorching synth oscillations beneath an unhinged Nicola Kuperus-like vocal performance that’s defiant, furious and paranoid within a turn of a phrase. 

While being a club banger for a dystopian age that’s inching ever so much closer to the apocalypse, “Too Much” as the duo explains finds them moving a bit closer to their punk roots. “Having lost none of our rage, ‘Too Much’ explores, without embellishment, the questions surrounding violence.”

The accompanying video for “Too Much” features the duo performing the song in a darkened club with hot, analog/VHS fuzz and glitch that undulates with the song’s propulsive thump.

Video by William Ruben Helms

New Video: Shudder To Think Shares Atmospheric and Intimate “Release The Ball”

Back in 2024 Shudder To Think — currently Craig Wedren (vocals), Nathan Larson (guitar), Clint Walsh (guitar), Jherek Bischoff (bass) and Adam Wade (drums) — celebrated the 30th anniversary of their groundbreaking 1994 effort, Pony Express Record, their Epic Records debut, which followed several releases on Dischord Records. 

After the initial release of Pony Express Record, the band dove into the world of scoring films and creating music for soundtracks with the 1998 releases of Jesse Peretz’s First Love, Last Rites, Lisa Cholodenko’s High Art and Todd Haynes’ Velvet Goldmine. Shudder to Think’s Wedren and Larson have gone to be prolific film and television with Wedren working on YELLOWJACKETS, Wet Hot American Summer, School of Rock, Laurel Canyon and more; and Larson working on Our Idiot Brother, The Skeleton Twins, Juliet, Naked, the High Fidelity TV series and a list of others. 

Last year, the band made their first live performances in over a decade and released the “Thirst Walk”/”Playback” 7 inch, which drew on the band’s classic, beloved sound — melodic, unpredictable and unmistakably their own. The 7 inch vinyl sold out quickly and was repressed for the band’s most recent run of live dates. And if you’ve been frequenting this site, you’d recall that the band recently released the three-song Who Sent You EP, the first new effort from the band in almost 30 years. The EP includes the previously released, semi-autobiographical EP title track ““Who Sent You,” their cover of Depeche Mode’s “Something To Do” off 1984’s Some Great Reward and the EP’s third and final single “Release The Ball.”

“Release The Ball” is a stark, atmospheric tune built around a looping, metronomic-like guitar figure, bursts of caterwauling synths and a metronomic drum patterns beneath Craig Wedren’s yearning delivery.

“Craig had a little looping guitar figure inspired by Arthur Russell,” the band says. ” He threw the idea down so as not to forget it, sang a mostly-gibberish vocal, and sent it to the band as something that could be turned into something. But Adam was like ‘no, leave it! It’s cool.’ So we added some rhythm and texture to the demo, served with love.”

Directed by the band’s Craig Wedren, the accompanying black and white video reflects the song’s stark, intimate nature, featuring live footage of the band projected onto a glittering disco ball.

Video by William Ruben Helms

New Video: Allegories Return with Ethereal “Glorious Vanity”

Canadian experimental pop duo and JOVM mainstays Allegories — childhood friends Adam Bentley and Jordan Mitchell — just released their newest album, By accident, On purpose on this past Friday.

The album includes ““Honestly, that’s enough honesty” “They’ll Never Suspect Us” “Pure Comedy” and the album’s latest single “Glorious Vanity.” Arguably, one of By accident, On Purpose‘s most minimalist and ethereal songs, “Glorious Vanity” serves as one of the more extreme examples of the JOVM mainstay’s experimental creative process with only the title remaining from the initial composition. The result is song that’s a hauntingly eerie, slow-burning, half-remembered dream rooted in palpable yearning.

The song captures the duo’s willingness to abandon a predetermined designation that largely came to define the album. Rather than ruthlessly potting their original idea, the duo allowed instinct and experimentation to dictate what the song needed to become, crafting a weightless entry point into the album.

Video by William Ruben Helms

Throwback: Happy 79th Birthday, Bob Weir!

JOVM’s William Ruben Helms celebrates the 79th anniversary of the birth of Grateful Dead co-founderBob Weir.