Category: singer/songwriters

Single Review by William Ruben Helms

New Audio: Weird Nightmare Returns with Syrupy and Anthemic “Buzzing in My Head”

Earlier this year, longtime METZ frontman Alex Edkins released his Jim Eno co-produced sophomore Weird Nightmare effort, Hoopla through  Sub Pop globally and Dine Alone Records in Canada,

Hoopla sees the Toronto-based JOVM mainstay mixing and matching the wide ranging influences of his time slinging indie rock and hardcore records at his hometown record store while attending university — namely 60s psych rock to 1990s DIY and beyond — in fun, unexpectedly exhilarating combinations, showcasing his sophisticated musical mind, while further cementing his unerring knack for crafting ridiculously catchy, and rousingly anthemic hooks and choruses.

Recorded at Providence‘s world famous Machines With Magnets, Hoopla also sees the acclaimed Canadian artist expanding upon Weird Nightmare’s musical palette with the addition of piano, bells and castanets, which give his long-held straightforward songwriting a shiny luster. 

The album features album tracks “Forever Elsewhere,” the Cheap Trick-like “Might See You There,” the punchy punk rock-like “Pay No Mind,” and the earnest and yearning “Where I Belong.” Today, Edkins shared the first bit of new material from Weird Nightmare since the release of Hoopla, the Graham Walsh-produced “Buzzing in My Head.” “Buzzing in My Head” is a syrupy sweet, hooky and rousingly anthemic power pop tune rooted in a unfussy, you-were-there-with-the-band-like production and Edkins earnest, seemingly lived-in lyrics. The track features a backing band of Loel Campbell (drums), Matthew Kuester (bass) continuing their ongoing collaboration, which included Hoopla.

Edkins says of the new single, “‘Buzzing in My Head’ is about that one person/place/thing/memory/experience that never really leaves your waking mind. It says with you to the point of distraction and overwhelms your ability to complete menial tasks.

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Throwback: Happy 81st Birthday, Neil Young!

JOVM’s William Ruben Helms celebrates Neil Young’s 81st birthday.

Video by William Ruben Helms

Throwback: Happy 73rd Birthday, Andy Partridge!

JOVM’s William Ruben Helms celebrates XTC co-founder and primary songwriter Andy Partridge’s 73rd birthday.

Single Review by William Ruben Helms

New Audio: Sinkane Teams Up with Mdou Moctar on Breezy, Ebullient “So It Goes”

Ahmed Gallab, best known as Sinkane will be releasing his sixth album, He’s Gone on February 26, 2027 through City Slang. Entirely self-produced, engineered and mixed by Gallab, the album features collaborations with Yo-Yo Ma, Mdou Moctar, Preservation Hall Jazz Band and Annie & The Caldwells.

Whereas 2024’s We Belong was an exuberant communal effort, conceived as a love letter to Black music and made with a large cast of collaborators, He’s Gone takes a different approach: Written after the death of his father, the album reflects on grief and how it surfaces in memory, faith and family. The forthcoming album sees Gallab allowing himself to sit in the discomfort of loss without letting it consume him. The album begins with the Istirjāʿ from the Qur’an: “Indeed to God, we belong and to Him we return” — words of surrender and faith traditionally spoken upon hearing of a death. And from there, the album follows grief not as a straight line towards resolution, but something unruly and at times, unpredictable. It disappears and returns — sometimes at the most inopportune and strangest times. It changes shape. It can coexist with joy, movement, love, and a deep groove.

Since the release of We Belong, Gallab followed in his parents’ footsteps, becoming a university professor, teaching music appreciation, theory and songwriting. And while making the record, he found himself inadvertently following his father. At the core of He’s Gone is the things we’ve inherited without noticing — the gestures and ideas that survive people; the moment when grief reveals that someone who has departed is still very much present in the way you think, work, teach, listen or even more through the world.

The album’s cover art features Ibrahim El-Salahi’s celebrated painting Reborn Sounds of Childhood Dreams I, used with the permission of The Tate and the artist’s family. El-Salahi, was not only one of the defining figures of modern Sudanese art, he was also a friend of Gallab’s father, continuing to add to the album’s overall themes of memory, family, history and the like.

“Making the record gave me permission to grieve and, eventually, became a kind of catharsis,” Gallab says of the album. “I thought I was making an album about losing my father. Instead, I started finding him and, ultimately, myself.”

Arguably one of Gallab’s most personal albums to date, the album sees him blending Sudanese pop, West African music, dub and Brazilian and Caribbean influences. The album’s first single “So It Goes.” feat. Mdou Moctar derives its title from the refrain that follows every death in Kurt Vonnegut’s Slaughterhouse-Five, drawing from the novel’s central premise that all moments in time exist simultaneously, making death only one moment among countless others in a person’s existence.

Sonically featuring a strutting groove, skittering beats and stabs of shimmering keys, “So It Goes” is a breezy and ebullient blend of Afrobeats, Eastern African music, dancehall and contemporary pop beneath Gallab’s breathy falsetto. Mdou Moctar contributes a woozy and expressive guitar solo fed through layers of distortion and haze.

“After my father died, I found that strangely comforting. Maybe being gone doesn’t mean every version of you is gone,” Gallab says.  “I wanted the song to feel like an East African psychedelic fever dream. “I asked Mdou Moctar to play the guitar solo, and he took it somewhere wonderfully unexpected.” The song gradually swells with a brightening sense of optimism and acceptance, viewing death as but a small part of a life. And it’s all underpinned by the joy of knowing that person was — and still is — a key part of your life.

“There’s something beautiful about a song about death feeling so full of life,” he adds.

Single Review by William Ruben Helms

New Audio: School of X Shares Breezy, Deceptively Sunny “Exist”

Rasmus Littauer is a Copenhagen-based producer, singer/songwriter, multi-instrumentalist and creative mastermind of indie pop project School of X. School of X derives its name from Ekskole, Copenhagen’s anti-establishment, experimental art school. which featured Warhol collaborator Jørgen Leth, art historian Troels Anderson and artists Poul Gernes and Per Kirkeby. “It was about learning from each other and being progressive,” Littauer explains. “There were no labels — anyone could join. That philosophy is so cool and I really admire all those artists.” 

Inspired by Ekskole’s ethos, Littauer created a collective with a similar ethos: Over the past decade, the Copenhagen-based artist has worked with Liss, MØ, Clairo, Deb Never as a producer, songwriter or musician — and as School of X, Littauer has collaborated with Half Waif’s and Empress Of‘s Spencer Zahn, Hinds‘ Anna Perrote, Lord Siva. Soleima and JOVM mainstay Trentemøller.

He also runs a studio in Copenhagen’s Nørrebro District with friend, collaborator and fellow producer Vera.

The Danish artist’s fifth album, 2024’s Seventh Heaven was released to widespread critical praise. Building upon a growing national and international profile, Littauer’s self-titled, sixth album is slated for a January 8, 2027 release through No3. The album will include the perviously released “Not Enough Time,” and the album’s second and latest single “Exist.” “Exist” is a breezy tune, anchored around a hooky acoustic guitar-driven arrangement paired with Littauer’s sunny, downright bright delivery. But at its core, the song’s optimism is actually deceptive as the song’s narrator openly talks about suffering from regret and delusions — with both an unvarnished honesty and the hope of being able to change. ‘

“It’s a song about suffering from delusions and the anxiety that inevitably comes with them, while doing everything you can to function in the world,” Littauer explains. “For me, it has been about feeling persecuted. At times, it it became so extreme, that I thought it would kill me. That’s also why ’Exist’ is a small miracle, because I wrote it at a time when I was at my lowest.”

“Love and family are what ultimately prevail. People who lift you up and can be a source of pure life energy, giving you a new perspective on how to find your way back and move forward,” Littauer says.

Video by William Ruben Helms

New Video: Alain Void Shares Brooding “Amo questa vita”

Alain Void is an Italian electronic music scene and producer, who first emerged into the synthwave and electro pop scenes in 2022 with his solo recording project Empty Essence, which saw him blending elements of post-punk, electro pop and darkwave paired with lyrics that frequently tackle philosophical themes.

Void eventually stepped out into the spotlight as solo artist, writing and recording under his own name. His work as a solo artist has largely been inspired by the nee to spread awareness and awaken consciousness through music.

The Italian artist’s latest single “Amo questa vita” continues a run of material that pairs Void’s remarkably Dave Gahan-like vocal with a brooding early era-meets-Violator-era Depeche Mode-inspired production featuring layers of glistening and shimmering synths, a motorik-like bass synth-driven groove and industrial beats. “Amo questa vita” thematically touches upon accepting oneself entirely — including their complicated history.

The accompanying video was shot in black and white and follows Void wandering through a wood area and in graffiti-strewn ruins — and in some way it reminds me of early era MTV videos.

singer/songwriters by William Ruben Helms

Throwback: Happy 77th Birthday, Bonnie Rait!

JOVM’s William Ruben Helms celebrates Bonnie Raitt’s 77th birthday.

Video by William Ruben Helms

Throwback: Happy 83rd Birthday, Joni Mitchell!

JOVM’s William Ruben Helms celebrates Joni Mitchell’s 83rd birthday.

Video by William Ruben Helms

Throwback: Happy 78th Birthday, Glenn Frey!

JOVM’s William Ruben Helms celebrates the 78th anniversary of the birth of Glenn Frey!

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Throwback: Happy 62nd Birthday, Corey Glover!

JOVM’s William Ruben Helms celebrates Living Colour frontman Corey Glover’s 62nd birthday.

Video by William Ruben Helms

Throwback: Happy 62nd Birthday, Greg Graffin!

JOVM’s William Ruben Helms celebrates Bad Religion frontman Greg Graffin’s 62nd birthday.

Video by William Ruben Helms

Throwback: Happy 78th Birthday, Charles Bradley!

JOVM’s William Ruben Helms celebrates the 78th anniversary of the birth of Charles Bradley.

Video by William Ruben Helms

Throwback: Happy 67th Birthday, Bryan Adams!

JOVM’s William Ruben Helms celebrates Bryan Adams’ 67th birthday.

Video by William Ruben Helms

Live Footage: Dragonflies Perform “Heart Or Head” at Hollywood Forever Cemetery

Dragonflies are a new musical project between Nigel Godrich and Dhani Harrison. Godrich and Harrison had already know each other for years — running in the same circles, hanging out in nature and admiring each other’s work from afar. During the pandemic, Harrison reached out to Godrich for advice and insight on what would become his 2023 solo effort Innerstanding. Historically,. Harrison helmed all of his own projects and was generally averse to working with outside producers. At the same time, Godrich had reached the point where he was less interested in producing for strangers, and was much more eager to only work with friends.

Eventually a conversation around Innerstanding led to a different conversation: “Why don’t we try to work on something?”

Godrich’s first impulse was to invite Harrison to his Brixton-based studio, to draw him out of his comfort zone. There, Godrich brought Harrison into his current working method, which involves creating tape loops as the basis for songs. Though, they had known each other for years, the pair were entering completely unknown territory. But they had a shared musical language and multi-faceted decades-long careers between them, with each uniquely adept at production and an array of instruments. And at Godrich’s studio, they embarked on a series of writing and recording sessions in which songs quickly bursting out of them. “It’s like one person throwing something in the air and the other person catching it,” Godrich describes.

During their writing and recording sessions, Harrison was impressed by Godrich’s ability to edit on the fly. “He’s a machine,” Harrison says, then adds with a laugh: “He has strong opinions about what he wants to hear, and for me it’s very humbling — that’s why it’s such a new experience for me.” And yet for Harrison. a student of the alternative and electronic albums of late 90s Britain, working with his friend was a dream come true, and an experience in which each was able to shift roles. Harrison, who was long used to being control behind the computer, went to different places by operating primarily as a vocalist and guitarist. For his part, Godrich credits Harrison’s openness and compassion with allowing the writing process to be one of happy accidents, and began coming in with lyrics and melodies. 

It was a unique way of working, both electronic and organic that involved laying down an idea, then chiseling the song into shape above mechanical sections of 24-track tape loops. Harrison conjured influences like Beth Gibbons, David Sylvain and Ryuchi Sakamoto in his vocals, while the duo refined their original recordings into layered grooves that channeled trip hop and electronic music — yet performed by hand. Then Godrich enlisted his Ultraísta and Atoms For Peace bandmate Joey Waronker (drums) to add more percussion. He also traveled to Los Angeles to work with composer and arranger David Campbell, with whom he worked on Beck‘s iconic Sea Change. Campbell draped the sputtering drums, rippling piano and frayed synths of several album tracks in gorgeous string arrangements. The result is a sort of earthbound space rock; music that’s transportive and far-reaching without ever sounding stereotypically psychedelic.

The destination was appropriately cosmic for a project that felt like liberation for both Godrich and Harrison. “Dragonflies are a symbol of spiritual enlightenment,” Harrison explains. “When Nigel suggested the name I was like, yeah, sold, done. Whenever I see a dragonfly it’s magical.” 

Interestingly, Dragonflies come from a period of both great change and stillness. After two decades being primarily based in Los Angeles leading bands like thenewno2 and scoring for television and films, Harrison returned to his native England, shocked at the sense of quiet remove back home. At the same time, Godrich had pulled back from touring and recording, and considered himself in semi-retirement. But it was from the newfound silence in both of their lives that Dragonflies became a vehicle in which they could chase unforeseen sound and horizons.

Dragonflies emerged from a period of both great change and stillness. After two decades primarily based in Los Angeles — leading bands like thenewno2 and scoring television and films — Harrison returned to his native England, shocked at the quiet remove back home. Compared to running himself ragged in LA, he felt free, and the next phase of his musical life blossomed. At the same time, Godrich had pulled back from touring and recording, and considered himself in semi-retirement. It was from the newfound silence in both of their lives that Dragonflies became a vehicle in which they could chase unforeseen sounds and horizons. 

Through the creation of the self-titled album, the duo discovered a new, brotherly depth to their friendship, and the fact that their bond allowed them to explore emotions and aesthetics neither could have done in another project — or by themselves. Built on trust, their experiments led to someplace unexpected for each, and opened the door for the future; They have a second album’s worth of material taht they’re putting the finishing touches on, and they plan on forming a touring band to take this new music on the road.

“I mean, it’s really fun,” Godrich explains simply. “Why would you not want to keep going?” 

“We could go even further,” Harrison concludes. “I’m still not sure what it is, where the band is going. But I want to go to that place more.” 

Their self-titled debut includes the album opening track “Slower,” which they performed on Jimmy Kimmel Live! and the album’s latest single “Heart Or Head.” Filmed at the band’s debut live shows at Los Angeles’ Hollywood Forever Cemetery, the live version of “Heart Or Head” features The Strokes‘ Nick Valensi and Harrison’s dueling psychedelic blues-tinged guitar paired with Godrich and Waronker’s driving, jazzy rhythm section and Talbot’s shimmering keys branch Harrison’s yearning falsetto, which reminds me quite a bit of his father.

The live footage perfectly captures their gauzy, psych rock meets trip house aesthetic.

Single Review by William Ruben Helms

New Audio: Bel Cardin Shares Lo-Fi, Earnest “Decoy”

22-year old Bel Cardin is an emerging, Raleigh-born and-based singer/songwriter. Coming from a family of music lovers, the young North Carolinian can trace the origins of their music career to when they picked up the guitar at 13. Raised on Smashing Pumpkins, Radiohead and Elliott Smith, Cardin later fell in love with a collection of artists that emerged in the 2010s, drawing from those artists’ penchant for melodic and crisp guitar, slightly ambiguous song structures and meticulous lyrical imagery. 

Cardin’s debut, 2023’s 10-song Petrify was a melancholy, guitar-driven batch of songs recorded at their college campus’ music studio. 

The North Carolina-based artist’s latest single “Decoy” is a bit of a lo-fi and grungier take on Stories from the City, Stories from the Sea-era PJ Harvey anchored around a classic grunge song structure — alternating quiet verses and loud, rousingly anthemic, power chord-driven choruses — paired with earnest, seemingly lived-in lyrics.

Cardin explains that “Decoy” is “about a sense of self that is defined solely by the relationships in your life. When those are fleeting, so is one’s self worth. But it also can create a lot of gratification all at once when those relationships are at their best, which is why it’s so hard to chance when you get into that cycle. This song explores the dimensions of that experience, specifically through the lens of grief. I wrote the lyrics a couple years ago and it’s been interesting creating the rest of the composition and reflecting on how I’ve changed since then when it comes to this way of living. I really enjoyed working on it and I’m super happy with how it turned out.”