JOVM’s William Ruben Helms celebrates the 79th anniversary of the birth of Marc Bolan.
Category: Video
Live Footage: TV On The Radio Perform “Wolf Like Me” on “Jimmy Kimmel Live”
TV On The Radio perform “Wolf Like Me” on “Jimmy Kimmel Live.”
New Video: Sirintip Shares Dizzying, Introspective “Lotus”
New York-based Thai-Swedish producer, composer and singer/songwriter Sirintip creates work that sits at the intersection of avant-garde pop, jazz, electronic music and interdisciplinary art. Raised in Thailand by her recently departed father, Sirintip spent her teenaged years in Sweden, before relocating to the States to pursue her music and artistic career. Through her multilingual identity, she has learned to communicate in countless ways, with the understanding that expression is expression, and deeply human, no matter the context. Her musical work is ethereal yet impassioned, with her voice moving across sophisticated harmony, dense electronics and rhythmic experimentation, shaped by her musical roots, which span across jazz, pop, traditional Thai music and European classical music.
The Thai-Swedish artist has released two acclaimed albums, 2018’s Michael League-produced Tribus, which features Mark Guiliana and 2022’s Carbon, which landed on DownBeat‘s Best Albums of 2022 list. She’s a highly-sought after collaborator, who has contributed to over 50 recordings, as well as composed the score for the 1925 silent film, The Lost World.
Sirintip has toured internationally as a bandleader and as an opener for Snarky Puppy and Sungazer, performing at SJFAZZ, The Nobel Museum, Wonderfruit and Winter Jazzfest.
Her broader artistic practice spans scientific collaboration, orchestral composition and sustainability, including solar-powered concerts and bioplastic vinyl, driven by a desire to uncover connections between cultures, ecosystems, disciples and people. The Thai-Swedish artist’s interdisciplinary project Mycelium transforms scientific research on fungi and plankton through music, data signification, projections and dance.
The acclaimed New York-based artist’s Elliot Moss co-produced White Lilies EP is slated for an October 30, 2026 release through Birdwatcher Records. The six-song EP may arguably be some of her most personal songwriting to date. Thematically, the EP’s material engages with grief through place and memory with the EP being a transmission of vulnerability through music. The EP and its creative process helped Sirintip process the loss of both her father and her childhood home back in Bangkok, while connecting with listeners on the universality of memory and identity.
Rather than bring external research and scientific inquiry, White Liilies reportedly sees the acclaimed artist turning inward. Each of the EP’s songs captures the breadth of her creativity: Pop song forms are blended with electronic textures, deep grooves and elevated, often dissonant harmonies. This all emerged organically, almost unconsciously. “I was trying to write very intuitively,” she says.
For the EP, Sirintip assembled a backing band of musicians and artists, whose versatility served her vision: Kengchakaj (piano, effects), Nolan Byrd (drums), Ben Wendel (tenor sax, effects) with the acclaimed New York-based artist on vocals, vocal effects, programming and various production elements. As co-producer, Elliot Moss helped her achieve an open-minded “pop perspective” for the overall production and sound. “I’m really, really, really happy with the production,” she says.
Commissioned by Greenwich House Music School, White Lilies sees Sirintip extending its creative expression even further, moving from musical gesture to sense-memory experience. The release includes biodegradable vinyl pressings, the acclaimed artist’s original photography, album artwork from Nitcha Tothong and a scent activations.
“Lotus,” White Lilies EP‘s dizzying second and latest single features dusty, trip hop-meets-hip hop breakbeat with twinkling keys, a Thai choral vocal sample, oscillating synths and a Quiet Storm-like groove beneath Sirintip’s expressive, jazz-meets-pop delivery. “Lotus” references a famous Thích Nhất Hạnh saying “No mud, no lotus,” while thematically touching on complicated parent-child relationship and celebrating breaking traumatic cycles.
“‘Lotus’ was inspired by Thích Nhất Hạnh’s idea of ‘no mud, no lotus.’ It’s about recognizing how our families, cultures, and the things we inherit shape who we become, while still choosing for ourselves what we want to carry forward,” the New York-based artist explains. “I think we can honor where we come from without repeating every pattern we inherited. The lotus is beautiful, but without the mud, it never would have grown into the flower it is.”
The accompanying video was shot in the artist’s native Bangkok and follows her as she dances and vibes out to the song in various locales, along with the titular lotus. While offering a slice of her birthplace’s breathtaking beauty, the video is punctuated by the memories of people and places that have gone, and those people are places still with us, and the uneasy push forward of our lives.
New Video: Always You Share Woozy, Bittersweet “1994”
Los Angeles-based duo Always You — twin brothers Christoph and Anton Hochheim — have managed to forge their own path while working alongside a hive mind-like collection of musician friends, including Beach Fossils, Wild Nothing, The Pains of Being Pure At Heart, MGMT, Jerry Paper, The Depreciation Guild and a lengthy list of others, which has helped shaped the siblings sonic identity along the way. Formerly known as Ablebody, the Hochheim Brothers have spent their careers exploring lo fi hypnagogic laptop pop, sophisticated synth pop informed by 80s UK and Japanese New Wave, as well as kitsch-en sink lounge ballads inspired by the great chansons.
The Los Angeles-based duo’s third album, the Jack Tatum-produced Against The World is slated for a November 13, 2026 release through Hit The North Records. With Jack Tatum at helm guiding production and mixing, he tirelessly broke down and then reconstructed all the elements of the material with the twins, pushing the album’s overall sonics to the absolute breaking point while still retaining their signature sophtisipop sheen. Throughout the album’s run time, heavy guitars and bending sheets of white noise clash over frenzied hi-hats and The Prodigy-like sub bass. Abrupt starts and stops seemingly crash down with the weight of the world. Drum ‘n’ bass and house beats thump over soaring melodies and chopped up vocal samples. The ballads seemingly sparkle with more heart and tension than anything in their previously released work.
Thematically speaking, Against The World is a statement for and against the times: a manic manifesto drawing a line in the sand, pointing out that love is the only resistance against the forces manufacturing distance and endless dissent between us. It’s a rallying cry pushing for something better, a staunch refusal of the status quo, fueled by the belief that we all deserve much better. The album’s material is rooted in the deep sense of longing for something, hell, anything else than this — a different reality, an alternate timeline, anything. Increasingly divorced from the world around us, the false promises of a new lover, a new leader, a quick and seemingly effortless salutation or a new savior become impossible to resist. That fantasy leads us further and further underground, leaving miles of rubble in its wake and keeping us all just out of reach.
Against The World’s second and latest single “1994” is a bittersweet meditation on time’s inexorable march forward, aging, lost youth and lost opportunities and the rose-tinted glasses of nostalgia pushing us to dream of a simpler world that never really existed. But when the world is seemingly running down, there’s a strange comfort in looking backwards isn’t there? Sonically and thematically, “1994” seemingly channels Smashing Pumpkins’ “1979” sounding as though it could have been released in — well, 1994 while underpinned by some old school craftsmanship.
“‘1994’ is a song about clinging to specific times and seeking refuge in them, often to moments that never really existed,” the Los Angeles-based sibling duo explain. “We live in a world that deals nostalgia as currency, where the past is constantly viewed through rose tinted lenses, with our youth put on a pedestal and the continual quest to return to that version of ourselves always just out of reach. We long to return to the simpler times before life pulled us from each other and ourselves, before our hardships and tragedies calloused us to the world, back to a time that only ever existed in our minds.”
Directed by Otium, the accompanying video for “1994” is a woozy and panoramic visual that touches on the song’s overall themes of rose-tinted nostalgia for at time before everything seemingly went bonkers — even if it was kind of bullshit to begin with.
Throwback: Happy 91st Birthday, Jerry Lee Lewis!
JOVM’s William Ruben Helms celebrates the 91st anniversary of the birth of Jerry Lee Lewis.
New Video: Rose Gray Shares Anthemic “Blink Twice”
Rising Walthamstow, UK-born dance pop artist Rose Gray has lived her life through club music — from cloakroom shifts to dance floor epiphanies. And that spirit infuses her work with hedonism, honesty and a lot of heart.
Her long-awaited full-length debut, last year’s Louder, Please, which featured “Party People,” “Free,” “Angel of Satisfaction,” “Switch” and “Wet and Wild” was released through Play It Again Sam. Praised for its breadth of collaborators, including Justin Tranter, Zhone, Sega Bodega, Ulfie and Alex Metric, Louder, Please saw the British artist channeling the chaos, catharsis and clarity of the dance floor into a kaleidoscopic vision that meshes classic pop with rave while quickly establishing her as one of the UK’s most exciting new dance artists. Along with the album, the rising British artist collaborated with Ben Hemsley on “Tidal,” Megra on “Elixir” and TSHA on “Girls.“
Adding to a breakthrough 2025, Gray opened for Charli xcx at London’s LIDO Festival. She played Glastonbury with Shygirl. She recorded a BBC Maida Vale live session. She also played her first ever UK headlining tour. She launched her own club night, Gray Selects. And she won a MTV Push Artist of 2025 Award. That summer, she played US dates with Kesha and Scissor Sisters. And she closed out the year with last October’s A Little Louder, Please, the deluxe edition of Louder, Please, which featured two previously unreleased tracks, “April” and “Lotus” and an additional disc of remixes with features from JADE, Melanie C, Shygirl and Casey MQ, as well as string versions of and club edits from Logic1000, Peach, Clementaum and Alex Chapman.
This year has seen the rising British artist build upon that momentum: Earlier this year, she played her second, sold-out North American tour, which included dates opening for Kesha and Scissor Sisters.. She recently made a run of the European festival circuit, playing sets at Primavera Sound, Boomtown and Leeds, which also included an opening slot for Lorde at All Points East. And she collaborated with Demi Lovato on “Joshua Tree.”
This past July, she released the two-track EP “Club To Your Arms“/”Just Be Bodies,” which offers a taste of what’s to come for the rising artist. And during all of this, she signed to Polydor Records.
Gray’s latest single “Blink Twice” is a rousingly anthemic, euphoric banger that’s a seamless blend of 80s and 90s dance pop, 90s Big Beat, house music and hyper pop that showcases the rising artist’s unerring knack for incredibly catchy hooks paired with earnest, lived-in lyrics, informed and influenced by her own experiences. And as a result, the song expresses a mix of awe, wonder, gratitude and luck that comes about from a whirlwind period in which hard work, dedication and moxie have finally seemed to pay off. But there’s also an awareness that even whirlwind, massive success can be fleeting.
“God, I love this song. It’s all chaos, love and emotion. I’ve been feeling so alive lately, more than ever,” Gray says. “This last year has moved so fast, and I’ve met so many incredible people along the way. Sometimes it hits me that I’m actually doing everything I ever dreamed of..touring the world, making music, playing the clubs I used to wait in line for. With all of that comes a little bit of fear too. I want it so bad, and I also don’t wanna lose it. Blink… and you might just miss it. I wanted to write a song about it.”
Paying homage to some of the classics of Gray’s upbringing, the track is also a full circle moment as it appears on the soundtrack for EA Sports 26/27. “This song reminds me of some of my favourite music I grew up on,” Gray adds. “Primal Scream, Basement Jaxx, maybe even a little bit of Britpop in its energy. I don’t really know what exact genre it is; it kinda bends between a few.”
The accompanying, stylishly shot visual for “Blink Twice” features the rising British artist in a suburban home vamping and dancing like a pop star before moving out — presumably for good.
New Video: Gurriers Shares Bruising, Arena Rock Friendly and Politically Charged “Waiting For Fisher”
Rising Dublin-based post punk outfit Gurriers — Dan Hoff (vocals), Ben O’Neill (guitar, backing vocals), Mark MacCormack (guitar), Charlie McCarthy (bass) and Pierce O’Callaghan (drums) — formed during the pandemic and they’ve built a reputation […]
New Video: Full Flower Moon Band Shares Uneasy, Brooding “Endless Summer”
Led by its creative mastermind, Aussie singer/songwriter and guitarist Kate “Babyshakes” Dillon, rock outfit Full Flower Moon Band initially started out as a bedroom project. Since expanding to a formidable, full-fledged band, Full Flower Moon Band has become one of Oz’s fastest growing bands. Anhocred around Dillon’s songwriting and singular stage presence, the project blends heavy riffle, psych rock/desert rock swagger with sharp, often darkly comic lyricism.
2024’s third album, Megaflower was their breakthrough effort: Megaflower debuted at #1 on the ARIA Australian Album Charts and #6 on the ARIA Vinyl Charts, selling out its initial vinyl pressing in a week. “Roadie” and “Illegal Things” received airplay on Iggy Pop’s BBC radio show. “Man Hands” appeared in Made In Chelsea. “Trainspotting’ was featured in the Netflix series, Heartbreak High. The album also landed at #66 on KEXP‘s album chart. And a collection of performance clips went viral, amassing millions of views while receiving attention from Fred Durst, Jack Black, Cage The Elephant, and Daniel Johns.
Adding to a growing wave of momentum surrounding the Aussie band, they’ll be opening for Foo Fighters on two dates of that band’s Aussie tour — November 5, 2026 at Brisbane’s Suncorp Stadium and November 7, 2026 at Townsville’s Queensland County Bank Stadium. And hot on the heels of that announcement, “Endless Summer” is their first bit of new music of 2026. Anchored around a snarling dessert rock-meets-doom metal guitar line, “Endless Summer” to my ears sounds a bit like a swaggering, blend of Songs For The Deaf-era Queens of the Stone Age and Stories From the City, Stories from the Sea-era PJ Harvey. But just underneath the sunny and optimist dream of never-ending summer, the song i underpinned by the shaky conviction of a manic episode, giving the song an uneasily desperate undertone.
The new single was written by Dillion during a month-long stint in New York, after receiving the Grant McLennan Fellowship, experience that pushed her outside the familiarity of Brisbane — and into a period of intense writing, isolation and creative uncertainty.
“A much darker anthem than the title suggests — ‘Endless Summer’ is the voice of a manic episode. This hopeless, frantic optimism is summarised in the chorus lyric, ‘you can have an endless summer, anytime the sun comes out’. What began as a simple instrumental track is now an unnerving battle cry,” Dillon explains.
The accompanying video for “Endless Summer” is split between stylishly shot performance footage, homemade footage of Dillon as a child playing air guitar and of brooding and serious Dillon in New York — on the subway and in several different locations in town. The video manages to capture the creeping unease at the core of the song.
Throwback: Happy 81st Birthday, Bryan Ferry!
JOVM’s William Ruben Helms celebrates Roxy Music frontman and co-founder Bryan Ferry’s 81st birthday.
Throwback: Happy 54th Birthday, Shawn Stockman!
JOVM’s William Ruben Helms celebrates Shawn Stockman’s 54th birthday.
Throwback: Happy 78th Birthday, Olivia Newton-John!
JOVM’s William Ruben Helms celebrates the 78th anniversary of the birth of Olivia Newton-John.
Throwback: Happy 52nd Birthday, Daniel Kessler!
JOVM’s William Ruben Helms celebrates Interpol guitarist Daniel Kessler’s 52nd birthday.
Throwback: Happy 46th Birthday, T.I.!
JOVM’s William Ruben Helms celebrates T.I.’s 46th birthday.
Throwback: Happy 55th Birthday, Peter Salisbury!
JOVM’s William Ruben Helms celebrates The Verve drummer Peter Salisbury’s 55th birthday.
New Video: STACEY Shares Lush, Kaleidoscopic “Upside Down Merry Go Round”
STACEY is a Toronto-born, Los Angeles-based singer/songwriter and musician, whose retro-tinged psych pop draws from the sounds and pop culture of the 1960s and 1970s has received critical praise from SPIN, LadyGunn, American Songwriter, Clash Magazine, Wonderland, Refinery29 and a lengthy list of others while receiving airplay from Apple Music’s Matt Wilkinson, KCRW’s and School Night’s Chris Douridas, CBC’s Errol Nazareth, BBC 6 Music’s Lauren Laverne and more.
The Canadian-born artist’s 2021 full-length debut, Saturn Return is part of a catalog that has amassed over eight million streams on Spotify, along with this year’s “These Days,” 2023’s “Christmas in California,” as well as 2013’s STACEY EP, 2015’s STACEY (Reconstruction) EP and 2017’s First Move EP.
Her compositions have been part of the soundtracks for more than 15 TV series and films including Netflix’s Spinning Out, Disney+’s Hollywood Stargirl, Lucifer, Pretty Little Liars Original Sin, Orphan Black and Degrassi. She has also shared stages with Charlotte Day Wilson, Tamino, Vinyl Williams and Tame Impala’s Cameron Avery. And adding to a growing profile, she has appeared on CTV‘s Your Morning and Global News’ The Morning Show and the Royal Ontario Museum‘s 75th Anniversary of Christian Dior Exhibit.
The STACEY and Dillon Casey co-produced, STACEY and Suzanne May a.k.a. Fonteyn co-written “Upside Down Merry Go Round” is STACEY’s first original release in five years and features Loren Humphrey (drums) and Tim McNalley (bass). Built around shimmering Wurlitzer, “Upside Down Merry Go Round” is lush, dreamy and subtly uneasy tune that sounds a bit like a seamless blend of Carole King‘s Tapestry, Dark Side of the Moon and Wish You Were Here-era Pink Floyd paired with a modern songwriting and lyrical approach. Thematically, the song captures the anxieties and emotional whiplash of existing in a modern, dystopian timeline: You’re trying to pay bills, join Zoom calls, chase dreams and carry on with your life, while the world unravels around you.
“I wanted to encapsulate the disorienting juxtaposition of day-to-day existence against the backdrop of worldly chaos, not only through the lyrics but also through the songwriting and production,” explains STACEY. “The drop to half-time in the choruses mirrors the relentless highs and lows of doom-scrolling. The song also has this feel-good quality that sits in contrast with the lyrics — ‘like a rainbow-coloured panic attack.’”
Directed by STACEY, the accompanying video for “Upside Down Merry Go Round” was filmed on 16mm film by Gus Bendinelli and is set a meticulously handmade surrealist dreamscape straight out of 1975 or so with psychedelic imagery and a miniature merry go round. To create the edible horses, which appear in the video. the Canadian born artist 3D-scanned the merry-go-round — a Facebook Marketplace find — and 3D-printed a miniature replicate of one of its horses. Longtime collaborator and makeup artist Christina Spina then created a mold, which the Los Angeles-based artist used to pour and then hand-painted the colored chocolate horses. “Aesthetically, I was loosely going for a 1970s Jodorowsky meets The Love Witch vibe with a sprinkle of Cher, but always myself — mostly letting my Facebook Marketplace prop finds and fashion choices guide the way,” STACEY says.