Category: World Music

Single Review by William Ruben Helms

New Audio: rhythmspitter Shares Dreamily Hypnotic “Eastern Advance”

Arguably better known for playing bass in Red Thread Theory, Michael Mosley is a San Francisco-based musician, composer, producer and creative mastermind behind rhythmspltter. With rhythmspitter, Mosley explores instrumental indie rock and lo-fi beat-driven material that’s influenced from an eclectic array of sources, including Bill Laswell’s Material and Jah Wobble‘s Invaders of the Heart. 

Each rhythmspitter composition sees Mosley weaving together a rich tapestry of instruments and rhythms from across the world. Each composition is meticulously crafted to resonate with listeners while providing a chill and captivating vibe that’s entrancing. With rhythmspitter, Mosley seeks to break down barriers and introduce audiences to a world of sonic exploration that they may not have encountered before — but he also hopes to open minds to the beauty of different styles and instruments.

Mosely’s latest rhythmspitter EP, The Antique Land is inspired by Alexander the Great and Percy Bysshe Shelley’s “Ozymandias.” “Eastern Advance,” the EP’s third and latest single is a percussive and hypnotic track featuring shimmering Middle Eastern-styled instrumentation and a hauntingly eerie vocal sample. The result is a composition that recalls the hypnotic and dreamy beauty of gnawa — but while possessing a modern, almost hip-hop like swagger.

singer/songwriters by William Ruben Helms

New Video: Franck Harois Shares Breezy “Au Rhythme Du Vent”

Franck Harois is French singer/songwriter and producer, who over the course of his 30+ year career has created music with a fiercely DIY ethos. Understandably, that has allowed, the French artist the ability to create freely and without compromise.

Harois’ latest single “Au Rhythme du Vent,” is a breezy bit of electro pop anchored around twinkling melodic synths, arpeggiated bass synths, bursts of squiggling of guitar and a remarkably catchy hook serving as a lush bed for the French artist’s dreamily plaintive delivery. The song sees Harois walking a tightrope between danceable Depeche Mode-like New Wave/goth and radio friendly pop.

Directed by Harois, the accompanying video for “Au Rhythme du Vent” was shot on the sun-dappled shores and forests of Biscarrosse, Bordeaux, France. The video emphasizes the escapist nature of the song.

Video by William Ruben Helms

Live Footage: Gabriel da Rosa Performs “Nunca Mais”

Gabriel da Rosa is a rising  Cruz Alta, Rio Grande do Sul, Brazil-born, Los Angeles-based singer/songwriter and guitarist. Growing up in rural, southern Brazil, da Rosa’s radio DJ father exposed him to a wide variety of music from the homeland. But it wasn’t until he relocated to Los Angeles that he began curating Brazilian records and DJ’ing himself. 

da Rosa wound up bonding with Stones Throw Records‘ label head, founder, artist and DJ Peanut Butter Wolf over their shared love of Brazilian music. Later, he began writing own original Bossa nova, inspired by traditional Bossa nova, but with a contemporary edge while collaborating with Pedro Dom, a highly sought-after musician, who has worked with some of Brazil’s beloved and internationally known artists like Seu Jorge, Rodrigo Amarante, and Latin Grammy Award-winner Ian Ramil. 

The Brazilian-born artist’s full-length debut, 2023’s É o que a casa oferece was anchored around traditional Bossa nova and samba-inspired sounds with subtle elements of jazz. 

Officially dropping today through Stone’s Throw Records, da Rosa’s highly-anticipated sophomore album Cacofonia, derives its title from the Brazilian Portuguese word for “cacophony,” while referencing the album’s overall clash of “notes, tensions, surprises and moods.” 

Thematically, Cacofonia is an ode to his homeland — including his family, its environment and the country’s indigenous and working-class people. The album is inspired by — and is the result of da Rosa’s emotional return home after eight years away. His family and travels led him back to his hometown of Cruz Alta. Though he’d often felt like an outsider growing up, seeing Brazil with fresh eyes mae him feel more connected to his country and his people than ever before. And when he returned to Los Angeles to work on the album, he kept those memories close. 

Cacofonia sees da Rosa eschewing much of the more traditional Bossa nova and samba-inspired elements of his sound. And while Bossa nova is still a part of the album’s overall sound and aesthetic, da Rosa wanted to pair and experiemnt with new influences, including Brazilian artists working in other genres and styles like Rodrigo Amarante and O Terno, as well as American artists like David Byrne (!) and Sam Evian. 

da Rosa’s lyrics sung mostly in Brazilian Portuguese have a trace of saudade — the longing for something or someone that you can’t get back or no longer exists. The album also features the Brazilian-born, Los Angeles-based artist’s parents and siblings discussing their heritage on voice notes, which sets the album’s overall scene with tropical birds in the background.

Cacofonia also comments on our discordant and polarizing world: da Rosa’s mother performs a poem about the devastating war in Gaza on “Sabor Humanidade,” and other songs speak to class inequality in Brazil and the impact of Bolsonaro’s mining policies on the Amazon and its people. Several album songs see da Rosa bearing witness to the lives of Brazil’s working class — a songwriting style influenced by years of listening to narrative-based songs and his grandmother’s life stories. 

After eight years away from family, da Rosa pledges to “never disconnect from my people and roots for this long again.” Cacofonia sees the Brazilian-born artist making good on that promise. It’s “me, in this moment of my life.” Gabriel saw “how proud I was of my culture. I used to be lost, scared, and trying so hard to please others.”  And although he has settled in Los Angeles, where he makes music among the city’s growing scene of of Brazilian musicians, regular DJs with his collection of rare Brazilian records, cooks churrasco and lets his “inner child play freely” through painting, Cruz Alta will always be home. But he says that home is also whenever there are “friends, some sort of security, safety, and community.” 

In the lead-up to the album’s release, I managed to write about two of the album’s previously released singles:

  • “Pê Patu Pá,” a song that opens with a repeating tropical songbird sample and glistening Rhodes that unfurls into a gently swaying, Bossa nova groove with a buzzing psych rock-like guitar solo serving as a lush and dreamy bed for da Rosa’s dreamy coo-like crooning. The song talks about the preservation of the sabía, the songbird of São Paulo State since 1966 — and the national songbird since 2002. The character “Vira-Mundo” represents the fight to preserve the bird, which is seen as representative of Brazil as soccer and Bossa nova.

  • “Seu João,” which continues a run of breezy yet deliberately crafted material that channels samba and bossa nova-driven jazz’s golden age — but with a mischievous modern sensibility. Lyrically, the song is a portrayal of market workers da Rosa observed outside of his family home in São Paulo — and he does so with a deep-seated empathy and pride.

Cacofonia’s final single “Nunca Mais,” which translates to “Never again,” is a ethereal and dreamy bit of Bossa nova, featuring twinkling keys that’s anchored by an underlying sense of ache and betrayal, as the song’s narrator describes a bitter heartbreak.

The live footage was shot on the costal hills of Los Angeles from an undisclosed yet breathtakingly gorgeous location that da Rosa and his collaborators lovingly call Petrichor. 

Video by William Ruben Helms

New Video: Cyprus’ A!MS and Antaeus Team Up With Julian Marley and Hypertone on a Swaggering and Uplifting Dancehall Anthem

Currently based in Ayia Napa, Cyprus, A!MS is an emerging and rising artist, who has developed a sound and approach that he has dubbed “Global Street,” which is informed by his multicultural background and blends hip-hop’s spirit, street culture, global sounds and digital-era creativity. The Cyprus-based artist sees this new, hybrid sub-genre as a home for artists beyond traditional scenes, that will unite voices from overlooked corners of the globe with a “as street, as it is worldwide” ethos.

The Aiya Napa-based artist’s latest single, the Antaeus-produced “Light & Love,” features Julian Marley and Hypertone, on a swaggering dancehall/reggae anthem that includes subtle and brief nods to Anatolian music and house music, anchored around club rocking tweeter and woofer rattling beats, twinkling and arpeggiated keys, a sultry dance floor friendly groove and a remarkably catchy hook and chorus. While being a fun, summery bop, each vocalist delivers a desperately-needed message of love, unity, uplift, and cultural exchange and understanding through music — in a fraught, uneasy time.

“Light & Love” is the lead single to the Cypriot-based artist’s forthcoming album, slated for release next month, which will reportedly see him firmly cementing the Global Street sound.

The accompanying video captures the swaggering, attention grabbing energy of the song while being remarkably stylish.

Single Review by William Ruben Helms

New Audio: San DIego’s Franhaus Shares Breezy and Nostalgia-Inducing “No Puedo Ser”

San Diego-based electronic music producer, singer/songwriter and DJ Franhaus, who specializes in creating what he believes is a new wave of Latin music that combines lived-in, earnest lyrics written and sung in Spanish with slick, dance floor friendly melodic, deeply emotional house.

The San Diego-based artist’s latest single “No Puedo Ser” is a breezy, nostalgia-inducing tune anchored around glistening synths, tweeter and woofer rattling thump, skittering beats and bursts of squiggling guitar. The Ibiza-meets-Tame Impala-like production serves as a lush bed for Franhaus’ yearning delivery while showcasing an artist, who can craft a catchy hook.

Single Review by William Ruben Helms

New Audio: Develour Shares Slow-Burning and Yearning “Dealer d’Amour”

The mysterious and mischievous French artist Develour emerged into the Francophone indie pop scene with the release of “La Part des Agnes,” which saw him quickly establishing a sound that he playfully dubbed “French touch disco,” a sound that draws from and features elements of chanson, soul, funk, disco and pop.

“La Part des Agnes” and the French artist’s second single “Un Matin,” which I described as a breezy and summery bop built around a swaggering and infectious 80s-inspired groove, appeared on his debut EP, 2023’s Vert Galant.

Develour’s latest single “Dealer d’Amour” is a slow-burning, Quiet Storm-meets-sophistipop-like ballad anchored around an atmospheric yet sultry groove, bursts of glistening synths reminiscent of Hall & Oates “I Can’t Go For That (No Can Do)” The song’s production and arrangement serves as a dreamy and lush bed for the mysterious French artist’s yearning, achingly plaintive cooing.

Thematically, the song questions our unhealthy relationships with dating apps, while openly discussing the wild mix of addiction, hope, disillusionment and loneliness they inspire. And yet, we keep on swiping because what else is there to do?

Video by William Ruben Helms

New Video: DVTR Returns with an Incisive Ripper Tackling Colorism and Racism

French Canadian JOVM mainstays DVTR —  Le Couleur‘s Laurence G-Do a.k.a. Demi Lune and Gazoline‘s,  Kandle‘s Xavier Caféine‘s and Gab Bouchard‘s JC Tellier, a.k.a. Jean Divorce — burnt up the Canadian indie scene with the release of their debut EP, 2023’s BONJOUR. The EP amassed a plethora of rapturous reviews, landed on a number of Best of 2023 lists and earned the duo the first batch of a growing number of awards in Québec.

Building upon that momentum of the previous year, the duo released an expanded edition of their debut EP BONJOUR (BIS), which featured a couple of bonus tracks.

The Montrealers supported the original and expanded editions of BONJOUR EP with a frenetic and whirlwind world tour over the past couple of years, which has featured sets across the club and festival circuit in Asia, Mexico, Germany and Québec. They’re currently in the middle of an extensive bit of touring across France.

During this remarkably busy period, the duo released a live album on VHS (!) and added more awards to their already crowded mantle — the 2025 Breakout Artist of the Year at the GAMIQ Gala earlier this year.

And they’ve still managed to release new material. They began this year with “Né pour flâner (Born to loiter),” a song that further cements the duo’s uncanny knack for mosh pit friendly, catchy hooks, punchily delivered vocals and furious synth and guitar riffage. 

Cementing their reputation for restless and frenetic creativity, the duo return with “Couleur peau (Your Next Token Asian Friend),” arguably one of the more defiant, feisty and perhaps somewhat straightforward punk songs of a growing catalog of breakneck rippers. The song sees the duo happily spitting on and trampling the outdated, ridiculous French concept of couleur peau (“skin color”), a term that according to the band only ever refers to white or beige skin. While calling out colorism, the song is also an incisive criticism of performative and wishy washy White liberals that sees the song’s narrator ready to cash in on White guilt. I’ll be your token Asian pal– if you ante up, the song says. But she’ll also call you out for it, as she’s cashing that check.

The accompanying video by Cedric Demers and Alexandre Normand feature DVTR’s frontperson insouciantly eating a buffet-style table of Chinese food while the song plays — with chopsticks and then a fork.

Single Review by William Ruben Helms

New Audio: Frais Dispo Shares Ethereal and Shimmering “Dire je t’aime au téléphone”

Montréal-based indie rock outfit Frais Dispo — Élie Raymond (guitar, vocals), Antoine Lévesque-Roy (bass), Thomas Bruneau Faubert (trombone, synths), Charles Primeau (guitar) and Antoine Gallois (drums) — is simultaneously a rebrand and a markedly radical direction for its members, who first gained attention across both Quebec and Canada as Foreign Diplomats: Frais Dispo sees the Montréal-based band adopting a much more collaborative songwriting approach than previously. Lyrics are written and sung completely in French.

2023’s Teinte, the newly rebranded band’s full-length debut and last year’s Les teints du ciel n’ont aucun sens found the Montréal-based outfit firmly establishing a markedly new sonic direction with their sound drawing much more from alt-country, folk and indie rock.

Building upon the attention that Teinte and Les tients du ciel n’int aucun sens received in the Francophone world, the Montréal-based outfit’s highly-anticipated sophomore album is slated for a 2026 release through Audiogram. Along with that announcement, the band shared their first single of 2025, “Dire je t’aime au téléphone.”

Anchored around an ethereal and gorgeous arrangement of strummed guitar, shimmering pedal steel, “Dire je t’aime au téléphone” has a dreamy, psych country-meets-Laurel Canyon-inspired vibe. Featuring a stream-of-conscious lyrical approach, the new single features motifs that are dear to the band’s Élie Raymond and frequently appear in their work: having the wind blow through your hair, April skies in Québec, the sense of time flying by before your eyes . . . And much like their previously released work, the new single is rooted in a yearning nostalgia that’s familiar and deeply bittersweet.

The song also sees the band adopting a more laid-back, spontaneous songwriting approach throughout the entire album’s creative process. The album’s tracks were recorded live to make the songs live and breathe — and to create a much more organic sound. As “Dire je t’aime au téléphone” ends, you hear a bit of murmured voices, laughter, and a brief sigh and a phone ringing, which gives the listener a sense of being in the studio with the band — and a real warm, imperfect, human element. By working this way, the band wanted to focus more on the emotions at the core of the material rather than the technique, all while capturing the buzzy euphoria of the first studio recordings.

“Dire je t’aime au téléphone,” much like most of the forthcoming sophomore album’s material can trace its origins back to lengthy jams and jam sessions, which they shortened. “We started playing, and when I felt we had something interesting, I started recording. I played the drums one-handed to start recording on my iPhone, sometimes 10 minutes after I started jamming!” The band’s Antoine Gallois, who also served as the album’s sound engineer explains.

Video by William Ruben Helms

Live Footage: Gabriel da Rosa Performs “Seu João”

Gabriel da Rosa is a rising  Cruz Alta, Rio Grande do Sul, Brazil-born, Los Angeles-based singer/songwriter and guitarist. Growing up in rural, southern Brazil, da Rosa’s radio DJ father exposed him to a wide variety of music from the homeland. But it wasn’t until he relocated to Los Angeles that he began curating Brazilian records and DJ’ing himself. 

da Rosa wound up bonnding with Stones Throw Records‘ label head, founder, artist and DJ Peanut Butter Wolf over their shared love of Brazilian music. Later, he began writing own original Bossa nova, inspired by traditional Bossa nova, but with a contemporary edge while collaborating with Pedro Dom, a highly sought-after musician, who has worked with some of Brazil’s beloved and internationally known artists like Seu Jorge, Rodrigo Amarante, and Latin Grammy Award-winner Ian Ramil. 

The Brazilian-born artist’s full-length debut, 2023’s É o que a casa oferece was anchored around traditional Bossa nova and samba-inspired sounds with subtle elements of jazz. 

Slated for a June 6, 2025 release through Stone’s Throw Records, da Rosa’s highly-anticipated sophomore album, Cacofonia, derives its title from the Brazilian Portuguese word for “cacophony,” while referencing the album’s overall clash of “notes, tensions, surprises and moods.” 

Thematically, Cacofonia is an ode to his homeland — including his family, its environment and the country’s indigenous and working-class people. The album is inspired by — and is the result of da Rosa’s emotional return home after eight years away. His family and travels led him back to his hometown of Cruz Alta. Though he’d often felt like an outsider growing up, seeing Brazil with fresh eyes mae him feel more connected to his country and his people than ever before. And when he returned to Los Angeles to work on the album, he kept those memories close. 

Cacofonia reportedly sees da Rosa eschewing much of the more traditional Bossa nova and samba-inspired elements of his sound. And while Bossa nova is still a part of the album’s overall sound and aesthetic, da Rosa wanted to pair and experiemnt with new influences, including Brazilian artists working in other genres and styles like Rodrigo Amarante and O Terno, as well as American artists like David Byrne (!) and Sam Evian. 

da Rosa’s lyrics sung mostly in Brazilian Portuguese have a trace of saudade — the longing for something or someone that you can’t get back or no longer exists. The album also features the Brazilian-born, Los Angeles-based artist’s parents and siblings discussing their heritage on voice notes, which sets the album’s overall scene with tropical birds in the background.

Cacofonia also comments on our discordant and polarizing world: da Rosa’s mother performs a poem about the devastating war in Gaza on “Sabor Humanidade,” and other songs speak to class inequality in Brazil and the impact of Bolsonaro’s mining policies on the Amazon and its people. Several album songs see da Rosa bearing witness to the lives of Brazil’s working class — a songwriting style influenced by years of listening to narrative-based songs and his grandmother’s life stories. 

After eight years away from family, da Rosa pledges to “never disconnect from my people and roots for this long again.” Cacofonia reportedly sees the Brazilian-born artist making good on that promise. It’s “me, in this moment of my life.” Gabriel saw “how proud I was of my culture. I used to be lost, scared, and trying so hard to please others.”  And although he has settled in Los Angeles, where he makes music among the city’s growing scene of of Brazilian musicians, regular DJs with his collection of rare Brazilian records, cooks churrasco and lets his “inner child play freely” through painting, Cruz Alta will always be home. But he says that home is also whenever there are “friends, some sort of security, safety, and community.” 

Last month, I wrote about “Pê Patu Pá.” Opening with a repeating tropical songbird pattern and glistening Rhodes, the song unfurls into a gently swaying, Bosas nova groove with a buzzing psych rock-like guitar solo serving as a lush and dreamy bed for da Rosa’s dreamy coo-like crooning. The song talks about the preservation of the sabía, the songbird of São Paulo State since 1966 — and the national songbird since 2002. The character “Vira-Mundo” represents the fight to preserve the bird, which may be seen as representative of Brazil as soccer and Bossa nova.

Cacofonia‘s third and latest single “Seu João” is continues a run of breezy yet deliberately crafted material that channels samba and bossa nova-driven jazz’s golden age — but with a mischievous modern sensibility. Lyrically, the song is a portrayal of market workers da Rosa observed outside of his family home in São Paulo — and he does so with a deep-seated empathy and pride.

The live footage was shot on the costal hills of Los Angeles from an undisclosed location that da Rosa and his collaborators lovingly call Petrichor.

Single Review by William Ruben Helms

New Audio: Music 4 Diana Shares Heartfelt Ballad “Mil Años”

Diana Jiminez is a Colombian-American, New Jersey-based singer/songwriter and creative mastermind behind the emerging recording project Music 4 Diana. Jiminez’s latest Music4Diana single “Mil Años” is a slow-burning ballad that showcases Jiminez’s gorgeous vocal and deeply heartfelt lyrics.

The emerging New Jersey-based artist explains that the song was written to pay tribute to her father. And as a result, it captures a sense of gratitude while being anchored around a message about love, legacy and the eternal bond between a daughter and her father.

Video by William Ruben Helms

Throwback: Happy 83rd Birthday, Taj Mahal!

JOVM’s William Ruben Helms celebrates the legendary Taj Mahal’s 83rd birthday.

Video by William Ruben Helms

New Video: Rafa Tena Teams Up WIth Las Negris on Mischievous “Morcilla”

Rafa Tena is a Madrid-born singer/songwriter, composer and music producer. His career started in earnest, behind the scenes as a lyricist and composer, who wrote material that became internationally recognized hits performed by other artists. Tena has also spent several years working as a producer, musical director for TV and as an apprentice poet.

Enamored with Cuban music, the Madrid-born artist has spent lengthy stints living in Havana, where he collaborated with some of Cuba’s most prominent artists, before eventually stepping out into the spotlight as a member of Son DOS, with whom he’ll release an album inspired by Cuba’s beloved son music.

But in the meantime, the Spanish-born singer/songwriter, composer and producer, who’s best known for work in pop and rock, recently collaborated with gypsy band Las Negris on “Morcilla,” a rowdy and raucous tune that will get the party started. Sonically, the song sees Tena and Las Negris meshing elements of flamenco tango and Cuban guagancó and pairing that with mischievous lyrics that reference morcilla, a blood sausages that’s a beloved delicacy across the Spanish speaking world — with some regional differences in ingredients and how its prepared. The song also references Tena’s travels between Spain and Cuba.

The accompanying video is a surreal and playful visual that features Tena and companions at a long dining table with wine, morcilla and other items. We also see Tena calling a someone from a banana phone, while his bags are packed, ready to hit the road. And of course, there’s a ton of dancing.