Category: singer/songwriters

Single Review by William Ruben Helms

New Audio: Gotts Street Park and Celeste Team Up on Soulful Lament “Easy”

Acclaimed Leeds-based trio Gotts Street Park— Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) —acclaimed full-length debut, 2023’s On The Inside included “Got To Be Good” feat. Pip Millettt, “Fuego,” “Mountains” feat. ENNY and “Tell Me Why” feat. Olive Jones. And in the subsequent years since its release, the album has amassed over 300 million streams across all DPS with “Got To Be Good” landing in Season Three of BBC’s hit series Boarders and this year’s Finding Emily starring Spike Fearn and Minnie Driver.

Their sophomore album Somewhere Between is slated for an October 16, 2026 release through Play It Again Sam. Somewhere Between is reportedly a departure from the soul, jazz and hip-hop influenced sound of their previously released work, with the album drawing inspiration from Bill Orcutt, Dylan Day, Dick Gaughan, Jessica Pratt, Big Thief and Blaze Foley, as well as the working methods of the house bands at Stax Records and Sun Records. The result is an album that combines the collective’s signature production prowess with an even greater warmth than before, as they also draw on the spirit of the 1970s troubadour singer/songwriter movement with a cast of long-time collaborators that include Celeste, Olive Jones, Pip Millett, Matt Maltese, Sofia and The Antoinettes, anaiis and Rosie Lowe.

In an era increasingly defined by automation and AI, Somewhere Between is threaded throughout with a quiet faith as music as an inherently human act — one shared by intimation, openness and the intangible chemistry of people in a room creating together. “The title only arrived once the album was finished, and it means something slightly different to each of us,” the members of the acclaimed Leeds-based band explain. “For me, it reflects the space that collaboration creates, a place where our individual lives, moods and experiences overlap for a while to make something together. We’re all arriving from different places, but in the studio those separate worlds meet. There’s something about making music that feels like stepping into a space between the tangible and the intangible, where ideas seem to come from somewhere beyond ourselves. In many ways, that’s what this album represents: meeting somewhere between who we are individually and what we can create together.”

The album will include the previously released, acclaimed track “Some Birds Don’t Fly” feat Matt Maltese, and the album’s latest single “Easy” feat. Celeste. The Brit Award and Academy Award-nominated artist Celeste’s achingly soulful and jazzy, AmyWinehouse-meets-classic soul-like delivery strutting over a shimmering, bass-driven Daptone-like arrangement with subtle hip-hop influences.

Thematically, “Easy” examines the push and pull of a romantic relationship that’s way too complicated than what it needs to be. And as a result, the song is centered on the narrator’s bittersweet and lament-fueled realization that it’s time to move on — with the hope that she’ll find the love she deserves.

“‘Easy’ came from one of our very first sessions with Celeste around eight years ago,’ Gotts Street Park explains. “There’s a rawness and spontaneity to it that captures those early days of working together. Nothing felt overthought or overworked, which gave Celeste the space to completely own the song through her performance. We’ve held onto it for a long time, so it’s exciting to finally have the opportunity to share it.” 

The band have begun to support the forthcoming album with their Somewhere Here World Tour, which bean with a set at this year’s Montréal Jazz Festival. The tour includes an appearance at the inaugural London edition of The Roots Picnic and at this year’s Newport Jazz Festival, as well as a July 30, 2026 stop at Le Poisson Rouge. Check out the North American leg dates below.

Single Review by William Ruben Helms

New Audio: Hayley Law Shares Self-Assured, Hook-Driven “Circle Back”

Hayley Law is a Canadian-born, Los Angeles-based actor, singer/songwriter and producer, who initially wrote, produced and recorded under the moniker Hayleau. She has since retired the moniker and project, saying “Hayleau was a version of me that I really love. Softer, shyer, and still trying to figure herself out through everyone else’s voices. I think that name became a little too shaped by perception, expectation, and who people thought i should be. Coming back to Hayley Law felt like reclaiming myself and deciding I don’t want anyone else molding who I am anymore.”

Performing under her own name, the Canadian-born, Los Angeles-based artist has crafted a sound and approach that sees her blending pop, R&B and pop rock with diaristic storytelling. Her work lives between vulnerability and control in a way that’s intimate, nostalgic and quietly disarming, pulling listeners into moments that feel as impulsive as they are intentional.

As a completely independent artist, Law has built her career on her own times while amassing over four million streams across the DSPs through purely organic growth and without chasing trends or traditional industry pathways.

Alongside her music career, Law has played roles in globally distributed Netflix projects and studio films, including Riverdale, Altered Carbon and more. She’s set to star in Jackie! Zhou’s FLYOVER.

Building upon a growing profile, the rising artist’s highly-anticipated Law, Jesse Boykins III and Melo-X co-produced Last Summer is slated for an August 14, 2026 release. The album sonically is a blend of sensual alternative R&B-influenced diaristic songwriting and early 2000s pop punk, creating an album of material that’s intimate, emotionally unguarded yet cinematic. Across the album’s run-time, Law effortlessly moves between softness and control, exploring desire, performance, heartbreak, ego, femininity and the versions of ourselves we create to be loved. But the star of the show is Law and her voice: vulnerable without being self-pitying, confident without false armor and deeply self-aware of the contradiction of wanting intimacy while trying to remain in control.

The album will include the previously released album title and opening track “Last Summer” and the album’s second and latest single “Circle Back.” Subtly channeling hook-driven, late 1990s and early 000s R&B — think Brandy, Monica and the like — “Circle Back” is built around an atmospheric production twinkling keys, a soaring string sample, skittering beats and glitchy, DJ scratches beneath Law’s self-assured, self-aware delivery. The song’s narrator spends the song’s runtime recognizing that this love interest is probably just a fling — and that fling needs to back off a bit and just enjoy things for what they are.

“Have you ever had a fling that just moves sooo fast? By the time you come up for air, you realize you’ve spent 3 days with the person and aren’t even sure you see it going anywhere,” the Canadian-born artist explains. “That is ‘Circle Back.’ I wear my heart on my sleeve and fall quickly and this song is my reminder to check in with yourself. Not every fling turns into a relationship. And having two/three weeks of something HOT is awesome.”

Video by William Ruben Helms

Throwback: Happy 85th Birthday, George Clinton!

JOVM’s William Ruben Helms celebrates the legendary George Clinton’s 85th birthday.

Video by William Ruben Helms

New Video: Josh da Costa Returns with Shimmering “Shireen”

Los Angeles-based artist Josh da Costa was a fixture in the early 2010s Brooklyn scene. Covering music back then, it seemed as though anyone could start a band or a project — and just about everyone did. And they all played at hundreds of now, long-shuttered venues like Cameo Art Gallery, Glasslands, 285 Kent, The Palisades, The Grand Victory, Trash Bar and countless others. da Costa’s first band Regal Degal toured with Real Estate and DIIV and opened for The Pop Group. (Unsurprisingly, I wrote about Regal Degal on this site back in 2013. Yes, this site’s early days y’all.)

When Regal Degal split up, da Costa relocated to Los Angeles. The old Craftsman house he shared with Geneva Jacuzzi, Shags Chamberlain, James Ferraro and Daryl Johns was a paradise for “freaks and friends,” as well as artists and musicians, who constantly wandered in for a jam session or for a hang. At the time, he played drums with Drugdealer and MGMT and he formed CMON, who released an album through Mexican Summer. (I saw CMON open for Jorge Elbrecht back in 2018! So I’m familiar with da Costa and his work.)

The party came to an abrupt end when the Craftsman burned down “in a blaze of glory,” set alight by a serial arsonist and the pandemic forced CMON, much like countless other acts, to cancel a big tour. da Costa’s serious relationship also ended. But for him, it wasn’t all disaster: his friends supported him after the fire, he met someone new and the pandemic meant that he finally had the time to revisit music from his adolescence and “get deep into some of the great I’d had lying around for years but overlooked.”

da Costa’s full-length debut, New Wave Graveyard is slated for a Friday July 24, 2026 release through Stones Throw Records. He imagined the album as a “greatest hits from a parallel universe, classic songs from an alternate reality.” “Instead of trying to hone in on one specific vibe or sound, I went through my own taste and record collection and tried out different approaches — as if I were more than just one artist,” he explains. While drawing from different styles and genres, the album’s material is anchored in how he crystallizes these very different approaches into something singular distinct, crafting a stylish record that defies easy categorization.

If you’ve been lucky to catch da Costa DJ around Los Angeles or have caught his Confusing Mix radio show on NTS, the album’s album overall aesthetic won’t come as a surprise. As a DJ and radio host, he has an uncanny knack for finding curious records from all over the place — music from Brussels-based micro-labels, Flying Nun Records favorites and left field post punk — and blending them in a way that somehow makes perfect sense.

Written over the course of several years, New Wave Graveyard was written during a transition period, a time when da Costa was “getting close to people and getting torn between the types of pleasure and discomfort all of that brings. Breaking people’s hearts, but mostly your own. And remaining excited about not just falling in love, but staying in love.”

Much like countless others, da Costa was drawn to LA’s “movie magic, bizarre music, sleazy sexy glammy druggy outsiders, and this blown-out bad vibe flipside to the California dream” – which interestingly enough, also describers New Wave Graveyard in a nutshell. The titular new wave graveyard is both a literal place (da Costa sometimes drives by his old burned-down house, which is still vacant) and a vibe, an elegy to forgotten fantasies and faded memories.

Nothing lasts forever: Bands start and break up. Friends flame out and lovers leave. Treasured spaces vanish. But the album reportedly bottles the sensation of being there, where the magic and cool shit happened — even if that place is completely imagined. It’s a celebration of strange people met once, but never forgotten, of shows and parties you attended and those you wished you had, of being young and earnest, and a little bit weird.

New Wave Graveyard will include the previously released, shimmering electro pop ballad “96 Year Old Girl” and the album’s last pre-release single, “Shireen.” “Shireen” is a a bit of XTC and Flying Nun Records-like jangle pop, anchored around a shimmering 12 string guitar and da Costa’s unerring knack for crafting a remarkably catchy hook. Much like its immediate predecessor, “Shireen” sounds as though it could have been released in 1983 or so — but with a subtly modern production.

Directed by Ambar Navarro, the accompanying video for “Shireen” features da Costa as a sort of unseen narrator to an 80s teen movie that quickly turns into a campy horror movie featuring a blood-thirsty vampire/werewolf.

Video by William Ruben Helms

New Video: John Glacier Shares a Breezy and Hypnotic Banger

Rising Hackney-born rapper, producer and poet John Glacier released her full-length debut, last year’s critically applauded Like A Ribbon. Like A Ribbon featured a seamless blend of rap, electronic music, post-punk, ambient textures and experimental songwriting, showcasing the rising Hackney-born artist’s uniquely diaristic, stream-of-consciousness approach while quickly establishing her as an artist operating within her own lane.

The success of Glacier’s debut has also helped to catapult her into a new stratosphere within music and elsewhere. Since her debut’s release, she made her debut in British Vogue, appeared on the cover of Hypebeast and starred in Prada‘s Spring/Summer 2026 global campaign alongside Hunter Schafer, Damson Idris, Carey Mulligan, Nicholas Hoult and the cover of HommeGirls. Her reputation as a fashionista has been further cemented with collaborations and appearances with leading houses — including Burberry, Alexander McQueen, Louis Vuitton, Miu Miu, Lacoste, Gucci, Bogetta Veneta, JW Anderson and Fendi.

Musically, she has collaborated with a growing and eclectic list of artists across different genres, including Blondshell, MJ Cole, Montell Fish and dj gummy bear, Jadasea and Jamie xx.

The rising multidisciplinary talent is building upon a rapidly growing profile with the Take A Daytrip co-produced “Bond Girl,” the first bit of new material since last year’s Like A Ribbon. Bult with a breezy yet propulsive pulse and tweeter and woofer rattling low end paired with dense layers of twinkling and oscillating synth melodies beneath Glacier’s coolly swaggering delivery, “Bond Girl” is a hypnotic, club friendly banger that channels Ibiza with a pop-leaning accessibility. “Bond Girl” to me captures a bold, rising artist, who’s about to put the game in a chokehold — and in her own terms.

Directed by Léa Ceheivi, the accompanying video for “Bond Girl” is fittingly inspired by classic spy thrillers and stars the rising Hackney-born artist as a stylish and enigmatic secret agent, who’s both a heroine and a villain. Effortlessly maneuvering through a world of intrigue and excess, she continually find sways to evade, outsmart and triumph over rivals and others attempting to take what’s hers.

Video by William Ruben Helms

Throwback: Happy 62nd Birthday, Chris Cornell!

JOVM’s WIlliam Ruben Helms celebrates the 62nd anniversary of Soundgarden and Audioslave frontman Chris Cornell’s birth.

Single Review by William Ruben Helms

New Audio: JOHN DORIAN Shares Shimmering “LOVE I REMEMBER”

New Audio: JOHN DORIAN Shares Shimmering “LOVE I REMEMBER”

Video by William Ruben Helms

Throwback: Happy 85th Birthday, Martha Reeves!

JOVM’s William Ruben Helms celebrates Martha Reeves’ 85th birthday.

Video by William Ruben Helms

Throwback: Happy 97th Birthday, Screamin’ Jay Hawkins!

JOVM’s William Ruben Helms celebrates the 97th anniversary of the birth of Screamin’ Jay Hawkins.

Video by William Ruben Helms

New Video: TOMORA Shares Expansive, Live Version of “IN A MINUTE”

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.

Initially, speculation was rife as to who — or what — the then-mysterious TOMORA was or could be, after the name appeared on Coachella’s 2026 Festival lineup post without any additional information last year. Then, last December, the duo released their debut single “Ring The Alarm,” which received praise from Spin, BrooklynVegan, Stereogum and DJ Mag. “Ring The Alarm” also received DJ support from Erol Alkan, ¥ØU$UK€ ¥UK1MAT$U and a long list of others.

The duo’s TOMORA debut single was then released on a very limited and collectible white label vinyl, alongside B-side “The Thing,” which showcases a glimpse of the tender and hauntingly beautiful downtempo tracks that appear on the duo’s full-length debut, COME CLOSER.

Released earlier this year through Capitol Records, 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 album is less about two separate and distinct artists finding a fertile middle ground and more the sound of two tenacious individuals connecting in the studio and hitting massive creative peaks together. 

“This is our album COME CLOSER, it is everything we dreamt of. We made it without obligation or expectation, just a joy in creation,” the duo says. “It’s the sound where we meet, the landing zone of our musical escape pods. It is a special place to us. We hope you dig it as much as we do.”

The album also includes singles “COME CLOSER” “SOMEWHERE ELSE” and “I DRINK THE LIGHT.” After a successful Spring tour to support their debut effort together, the pair went to Rowland’s Sussex, UK-based Rowlands Audio Research Studio to record a live version of album closing track “IN A MINUTE” that’s inspired by their ever-increasing extended performances of the song as part of the encourage of their first-ever live shows together, including two rapturously received sets at this past year’s Coachella.

Whereas, the album version of “IN A MINUTE” distills the duo’s quickly established euphoric push-pull chemistry into a tight, breakneck structure, the Live in the Studio version of the song, clocks in at 10 minutes gives the duo the ability to stretch out and to roam a bit musically, building from the song’s central refrain into an extended dreamy sequence of densely layered shifts, shifting rhythms beneath otherworldly harmonies, before returning to the song’s hook, giving the song even more of a mind-bending, lysergic quality.

Directed by Adam Smith the gorgeously shot accompanying video for “IN A MINUTE (LIVE FROM THE STUDIO VERSION)” captures the feverish euphoria of a life TOMORA set.

singer/songwriters by William Ruben Helms

New Video: Black Marble Returns with Propulsive “Anything”

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. 

The album will include the previously released “Jim Carol New Year,” a decidedly upbeat, 1980s New Wave-inspired track and its latest single, “Anything.” Anchored around an angular and propulsive rhythmic pulse and shimmering and squiggling bursts of guitar, “Anything” manages to channel early New Order and Q: Are We Not Men? A: We Are DEVO! and Freedom of Choice-era DEVO but instead of frustrated carnal desires, the song has a decidedly domestic bent. It’s not exactly content, but it has a sense of humor about daily annoyances and irritations of friends and loved ones, the frustrations of constant stimulation and instant gratification when it seems you can’t find either. And at its core, the song points out it’s difficult to connect with people, when most folks are lookin to bail on people for the smallest possible thing.

“‘Anything’ is basically a bedroom pop version of ‘Satisfaction’ but it trades the carnal undertones for more of a domestic pastiche. With lyrics about leaving the bedroom window open, casual druggy friends popping by at all hours and other relationship annoyances, the center of the struggle is less about finding temporary satisfaction but that today’s glut of options and opportunities gives every relationship an expiration date, every encounter an easy off ramp and every minor annoyance a reason to move on,” Black Marble’s Chris Stewart says. “The sentiment is the same from those old days, lack of fulfillment, but it’s due to modern circumstances. It feels like we have every option at our fingertips but we’re somehow losing the ability to connect.”

Directed by Scott Kiernan, the accompanying video was shot at New York’s Various/Artists and captures the song’s themes of overstimulation by featuring a rapid-fire barrage of vibrant images with a meditative and occasionally bemused Stewart flickers throughout the visual noise and chaos.

Video by William Ruben Helms

Throwback: Happy 55th Birthday, Ed Kowalczyk!

JOVM’s William Ruben Helms celebrates Live frontman Ed Kowalczyk’s 55th birthday.

Single Review by William Ruben Helms

New Audio: Nouvelle Vague and Flavia Coelho Tackle Depeche Mode’s “Never Let Me Down Again”

Founded by Marc Collins and the late Olivier Libaux back in 2003, Nouvelle Vague was initially conceived as a one-off tribute to post-punk songwriting in a Bossa nova style. 2004’s self-titled debut, which saw them establish their unique fusion of melancholy post-punk, Bossa nova and French re-interpretational approach, unexpectedly achieved global acclaim. Since then, Nouveau Vague has become a global phenomenon.

Their 10th album, A Date with Depeche Mode is slated for an October 30, 2026 release through Kwaidan Records/[PIAS] Recordings. And as you can probably tell, the album sees the French outfit tackling the work of pioneering British electronic outfit Depeche Mode. The album’s second single, “Never Let Me Down Again” feat. Brazilian artist Flavia Coehlo was according to the a conscious risk, because her voice manages to carry the full light of Rio. The original version is a brooding and hypnotic tune built on an intertwined promise and threat.

Coehlo and Nouvelle Vague manage to craft a bold and unique interpretation of a beloved song that doesn’t betray the spirit and intention of the original. The summer breeze and sunshine of Nouveau Vague’s rendition is superficial; the song is underpinned by a tense, brooding unease. Goths at the beach, perhaps?

Seriously though, Nouveau Vague’s work points out the melancholy of English New Wave and Brazilian Bossa Nova are practically two sides of the same coin.

Video by William Ruben Helms

Throwback: Happy 80th Birthday, Linda Ronstadt!

JOVM’s William Ruben Helms celebrates Linda Ronstadt’s 80th birthday.