Category: singer/songwriters

Single Review by William Ruben Helms

New Audio: The Afghan Whigs Return with Sultry “Jungle Roux”

JOVM mainstays The Afghan Whigs —  currently Greg Dulli (vocals, guitar), John Curley (bass), multi-instrumentalist Rick Nelson and the band’s newest member, Blind Melon’s Christopher Thorn (guitar) — will be releasing their 10th album, Soft Control on August 21, 2026 through Royal Cream/BMG.

Soft Control is reportedly a testament to the old David Bowie quote, where he describes aging as “an extraordinary process, where you become the person you always should have been.” By now, the volatile years of frontman Greg Dulli’s youth have been substituted with a wry and self-aware, Zen Buddhist-like satori. The edge and sensitive temperament remain but the unchecked conflagration of ego and rage no longer threaten personal immolation.

“I’ve worked hard on my inner peace,” Dulli explains. ““I was an angry young man, and it fueled my art, ambition and my drive. I wouldn’t change anything because I can’t.  But as I got into photography and other art forms, I realized that I’m not in competition with anyone – including myself. Now, I know what I’m doing and there’s a quiet confidence that comes with being able to back it up.” 

The band recorded 22 songs for the album in session s at Joshua Tree, CA‘s Fireside Sound, New Orleans‘ Marginy Studios, East Hollywood’s Gold Diggers Sound and Cincinnati’s Sycamore Studios. Several favorites were cut because they didn’t seamlessly fit into the album’s taut 37-minute run time. The album features guest spots from former drummer Patrick Keeler, vocalist and violinist Petra Haden, My Morning Jacket‘s Bo Koster and a list of others.

Soft Control reportedly captures the JOVM outfit’s long-held ability to craft material that can effortlessly bounce between and mesh arena rock anthems with brooding, cubist refractions of soul and R&B. The album has its Afghan Whig-style bangers — because Afghan Whigs after all. But there’a reconciliation of ear drum shattering volume and somber reflections, living life with joy and purpose while keeping one eye on the clock, while remaining aware of life’s absurdities.

The album’s latest single “Jungle Roux” is a sultry bit of R&B and soul-tinged rock with phased out guitar twang that sounds a bit like a synthesis of “Gimme Shelter,” Dr. John, and Motown, and evokes a woozy, sweaty and desperate craving. It’s arguably the album’s sexiest, song to date.

Video by William Ruben Helms

Video Interview: Hush’s Paige Barlow and Miles Dupire-Gagnon

JOVM’s William Ruben Helms chats with Hush’s Paige Barlow and Miles Dupire-Gangon about their recently released “For Dolly” and more.

Video by William Ruben Helms

Throwback: Happy 84th Birthday, Curtis Mayfield!

JOVM’s William Ruben Helms celebrates the 84th anniversary of the birth of Curtis Mayfield.

Video by William Ruben Helms

New Video: FIGHTMASTER Returns with Intimate and Introspective “Minotaur”

Non-binary actor, singer/songwriter and producer E.R. Fightmaster (they/them) first came into the public eye for their roles in Grey’s Anatomy and Shrill. They built a home studio that replicated a particularly fertile creative space from a previous apartment: a cozy closet. They also learned to use Logic and sharpened their engineering techniques. “It felt like leveling up in a creative way,” Fightmaster explains. “I never have wanted to do the technical part of things, but when you’re trying to be creative, you have to set up a space that does beyond what a loop station can do.” 

They emerged as a solo artist with their recording project, the aptly named FIGHTMASTER with their debut EP, 2023’s Violence and 2024’s sophomore EP Bloodshed Baby. Building upon a growing profile, Fightmaster will be releasing their full-length debut, Tolerance on Friday, June 5, 2026. 

Tolerance is dominated by raw, unvarnished lyrics that reflect the complexities and messiness of emotional growth, and attempts to find equilibrium. When Fightmaster started writing the album’s material, they drew from their own life experience, analyzing them through the lens of hindsight and perspective. “Every song that I write is in some way a personal experience, but here I was mining a broader understanding of patterns throughout a lifetime: patterns of loving different people, patterns of watching my friends love each other,” they explain. “All of us do a relatively graceless job, but all the patterns are the same, which is endearing to me.”

“Tolerance is the most deliberate thing I’ve ever done,” they add. “I wanted to break through more personally on this album. I really waned to give people a part of myself . . . I would decided that a song felt good if it hurt a little bit. There had to be this real truth to it. And that requires a lack of wall between self and the audience.”

Fightmaster also wanted to work with more producers than they did in the past. On the album, they worked with Riley Geare, who produced both the Violence and Bloodshed Baby EP‘s; Casey Kalmensen, the creative mastermind of Little Monarch, who also plays keys for Gracie Abrams; and Gabe Goodman, who produced Del Water Gap‘s “Ode to A Conversation Stuck In Your Throat.“

The result is an album that exhibits artistic clarity and is a reflection of Fightmaster’s own self-awareness about their place in the world, musical and otherwise. “I have to have such a clear understanding of self all the time because I’m a public figure in a very queer way, and I’ve always taken that responsibility seriously,” Fightmaster says. “I don’t feel comfortable being reckless anymore . . . Nonbinary people and trans people have so few elders — I’m not an elder yet; I haven’t earned it — but I have taken on an understanding that’s the path that I’m on.”

Of course, none of this means that Fightmaster has completely figured it all out. No one really has it figured out. But in fact, Tolerance‘s songs brim with empathy — both for the narrators and others. “I want people to know that there’s still cracks in the pavement; I want them to feel safe with me,” they say. “I’ve always thought of myself as so tough, but in the last couple of years I had to realize that I get my feelings hurt every day… When I realized how much kid-heartbreak is still in there, even though I’ve been to all the therapy and I’m on the perfect amount of medication, I was able to write these songs with more kindness for myself than I ever had.”

The album will include the previously released “All Or Nothing” and the album’s third and latest single, “Minotaur.” “Minotaur” is a gorgeous, intimate and crafted waltz of a song inspired by the Greek myth of Theseus and the labyrinth. Much like the source material, “Minotaur” is a story about love, devotion and heartbreak written in a way to allow the audience to perpetually shift sympathies. “The longer I sat with this myth, the more my heartache shifted from Theseus and his father to the Minotaur himself,” Fightmaster says.

The accompanying video follows Fightmaster on some intimately shot behind the scenes tour footage that emphasizes the introspective nature of the song.

Video by William Ruben Helms

New Video: Black Marble Shares 80s New Wave-Inspired “Jim Carol New Year”

Singer/songwriter, multi-instrumentalist and Black Marble creative mastermind Chris Stewart will be releasing his fifth Black Marble album, Life in Small Spaces through Sacred Bones Records on August 21, 2026. The album, which is Stewart’s first full-length album since 2021’s Fast Idol, is an album of clear-eyed commentary and analysis of the music industry as a whole, a discussion of authenticity and a heartfelt letter to all the independent creatives out in the world.

“I always knew a lot of people in music struggled to make ends meet, but it surprised me to learn that the people you thought would be doing well often weren’t. For me, seeing the business from the inside like that changed how I looked at things,” Stewart says. “When I looked up to see a new artist on a billboard, I started to wonder, ‘will I one day have to pretend to be something I’m not, in order to succeed?’ The life of an artist goes on after your moment ends, you know? So who do you want to be in the end and how do you want to be seen by the people that know you? I made Life In Small Spaces while thinking about that, and for me, it serves as my own ideal for living an artistic life. I’m doing it as a vocation, not some last-ditch effort to escape to some other world. I made this record not only as a way of saying that, but as a way of saying it’s ok to feel that way. It’s ok for people to sacrifice some degree of creature comfort in order to live a life you believe in. And it doesn’t have to be an endless search for something just out of reach, it can be a permanent way of being and something that sustains you.”

Drawing from early American left-of-the-dial “college radio” staccato guitar lines and live drum samples, the album’s material sees Stewart eschewing his usual wall of synths-driven sound for a more live sound.

Life in Small Spaces‘ first single “Jim Carol New Year” is a hooky, decidedly upbeat, 1980’s New Wave-inspired track featuring layers of glistening and shimmering synths and gated reverb-soaked, angular drum machine beats. Seemingly channeling Security and Peter Gabriel 3-era Peter Gabriel and New Order, the song’s title nods to the late New York-born and-based author, poet and musician Jim Carroll and holiday season carols, while casting a critical eye on modern life. Throughout, the song sees is narrator and protagonist rejecting false promises of religion, advice from so-called experts or easy answers in favor of self-validation and independent thinking. The song’s refrain of “I forgot my money” is meant to convey all the things the song’s protagonist isn’t buying. “If you want to be free,” Stewart says, “you have to watch out for some of life’s classic pitfalls.”

Directed by Clayton Hunt, the accompanying video for “Jim Carol New Year” follows two travelers — one of them is in a hazmat suit — being inexplicably drawn to a house in the distance. The two travelers wind up meeting each other and discovering they’re doppelgängers for each other.

“Chris had an idea of a house in the distance with two travelers being drawn toward it. We wanted each traveler to represent a different version of the journey,” Clayton Hunt explains. “One traveler struggled unprotected against the landscape, the other was cautious, outfitted in an orange hazmat – type suit. I decided to shoot 16mm and capture everything against the green landscape, creating a vibrant contrast. That imagery helped guide the production and inform the story.”

Video by William Ruben Helms

Throwback: Happy 45th Birthday, Brandi Carlile!

JOVM’s William Ruben Helms celebrates Brandi Carlile’s 45th birthday.

Video by William Ruben Helms

Throwback: Happy 52nd Birthday, Alanis Morisette!

JOVM’s William Ruben Helms celebrates Alanis Morissette’s 52nd birthday.

Video by William Ruben Helms

Throwback: Happy 70th Birthday, Larry Blackmon!

JOVM’s William Ruben Helms celebrates Cameo frontman Larry Blackmon’s 70th birthday.

Video by William Ruben Helms

Throwback: Happy Belated 45th Birthday, Victoria Legrand!

JOVM’s William Ruben Helms belatedly celebrates Beach House frontwoman Victoria Legrand’s 45th birthday.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Alewya Returns with Defiant, Dancehall-Inspired “Maktoub”

JOVM mainstay Alewya is an acclaimed London-based singer/songwriter, producer and visual artist. Her highly-anticipated full-length debut, ZERO is slated for a June 26, 2026 release through Because London Records. The album reportedly embodies years of artistic growth into an effort that’s both deeply personal and sonically expansive. But the album also marks a significant milestone, as it sees her boldly stepping into a new creative era, defined by fearless experimentation and cultural fluidity. 

ZERO will include the previously released “Night Drive,” feat. Dagmawit Ameha and “City of Symbols,” “Eshi,” the Busy Twist-produced “Selah” and its fifth and latest single “Maktoub.” Anchored around dancehall reggae riddims, skittering industrial trap triplets, “Maktoub” continues a remarkable run of genre-defying and sweaty global club music that’s expansive yet urgent, accessible yet forward-thinking and remarkably catchy. Over the song’s dancehall riddims, the JOVM mainstay’s reggae-influenced vocal sings lyrics that touch upon themes of resistance, destiny and self-determination that are fiercely feminist and defiantly pro-Black and pan-African.

“Sometimes songs take time to reveal themselves but ‘Maktoub’ felt immediate and effortless from day one,” notes Alewya. 

Single Review by William Ruben Helms

New Audio: CASTLEBEAT Shares Shimmering, Hook-Driven “Stay With Me”

Growing up biracial in Southern California — his father Korean, his mother Spanish — CASTLEBEAT creative mastermind and Spirit Goth Records founder Josh Hwang absorbed a wide range of musical traditions early on, filtered through the quintessentially Californian experience of listening to the radio on long drives. Drawing comparisons to Craft Spells, Beach Fossils and Day Wave, Hwang’s CASTLEBEAT sound can be described as jangly guitar-driven dream pop with melancholic overtones and sharp pop hooks, anchored around a sense of melody and motion.

Hwang’s newest CASTLEBEAT effort, CASTLEBEAT II is slated for a June 26, 2026 release through Spirit Goth Records, the label he runs with his wife Sonia. Much like his previously released work, Hwang wrote, recorded and produced everything himself, continuing the lo-fi DIY ethos that’s been at the core of the project. The album is conceived as a ten year anniversary reflection on Hwang’s 2016 self-titled debut. And he approached the album as both a time capsule and a creative reset, deliberately returning to the sounds, instincts and unfinished ideas of his early CASTLEBEAT era — but with a decade worth of refined craftsmanship.

“This album is a 10-year anniversary ode to my 2016 debut,” Hwang explains. “Some of the songs started as ideas from that era that I never finished at the time. Other songs were written more recently, but I intentionally limited myself to the kinds of sounds and choices I would’ve made back then — just with a more dialed-in approach I’ve developed over the years.” Adding to the homage paying vibes, CASTLEBEAT II‘s artwork and song sequencing deliberately echoes Hwang’s 2016 CASTLEBEAT debut, down to the original font on the artwork. “This record is about taking a moment to recount a chapter before moving forward,” says Hwang.

Unlike his previously released work, there is one major departure: Hwang recruited Brian Fisher to handle mixing and mastering. According to the Southern Californian-born artist, it was a decision that took some letting go of. “The hardest part was trusting that handoff and not endlessly tweaking. But once I let that happen it actually made the album stronger,” he admits.

CASTLEBEAT II‘s third and latest single “Stay With Me” features jangling guitar lines and a slacker rock-meets-New Order-like groove paired with Hwang’s achingly wistful vocal and a remarkably catchy hook. “Stay With Me” sees Hwang walking a tightrope between being defiant upbeat and heartbreaking melancholy, evoking a familiar sensation to anyone who’s been in a relationship on the verge of a breakup: the desire to hold on, but the sense of that person slipping away before your eyes.

As Hwang says: “‘Stay With Me’ is an upbeat, home-recorded dream-pop single built around jangly Stratocaster lines and a laid-back slacker-rock feel. Lyrically it’s about wanting someone to stick around when you can feel things starting to slip. Bright guitars, relaxed groove, and a hook that lands quickly.”

Video by William Ruben Helms

Throwback: Happy 82nd Birthday, Gladys Knight!

JOVM’s William Ruben Helms celebrates Gladys Knight’s 82nd birthday.