Back in 1990, the mysterious San Diego-based act The Cry quietly released Beautiful Reasons. Several songs off Beautiful Reasons were included in the H-Street Skateboards’ video Hokus Pokus, which was also released that year. The band started to increasingly attention and were being courted by a major label — and then they did something completely unexpected: they disappeared without much of a trace.

Although at the time, Beautiful Reasons only had a limited cassette release, the album has  grown in stature among their original fans while attracting new fans. Centered around heartfelt vocals, jangling and shimmying guitars, upbeat drumming and propulsive bass lines, the album has become a cult favorite among jangle pop and indie rock circles. Interestingly, over the years Hokus Pokus has become regarded as arguably one of the most iconic skateboard videos ever made — with its soundtrack highly praised.

Beautiful Reasons was recently uploaded onto the digital streaming platforms — and naturally that has brought increased attention back to the album and to the band. Encouraged and empowered by their fans and supporters, the members of The Cry quietly reunited in 2017. And since their reunion, the band has released a string of new material that has cemented their-long held reputation for crafting upbeat, earnest, hook-driven material — but with a heightened self-assuredness and confidence. 30 years after the release of their seminal album, the band will be releasing a string of singles and are currently working on a full-length album that’s tentatively slated for release later this year.

In the meantime, the San Diego-based act’s latest single “This Hazy Morning” is a anthemic hook-driven bit of jangle pop centered around shimmering and reverb-drenched guitars, mellifluous, earnestly yearning vocals and a propulsive rhythm section, the song manages to bring Crocodiles and Heaven Up Here-era Echo and the Bunnymen — and with a similar, swaggering self-assuredness.






News/Announcements: Shoutouts to Patrons 

The Joy of Violent Movement has been a labor of love throughout it’s almost ten-year existence. Unlike those much larger sites and blogs out there, I think that this site is truly special: it’s one of the rare places where readers can come across personal and eclectic curation and coverage of independent music from all of the world. It’s one of the places out in the blogosphere where punk rock, jazz, hip-hop, reggae, the Desert Blues, the blues, funk, EDM, electro pop and countless other genres and styles exist simultaneously.

Now, many of you will know that I’ve run JOVM as a (mostly) one-man operation out of my Corona, Queens, NYC apartment while working in the editorial department of three different publishers across both trade and academic publishing — first as an Editorial Assistant and then eventually becoming an Acquisitions Editor. Unsurprisingly, most of the time, I had an odd, dual life: during the day, I was sort of a mild-mannered, spectacled Clark Kent and when the proper time came, I’d run off someplace to change and become Superman to cover shows across town. I’d repeat sometimes 3-4 times a week for the bulk of the site’s existence.

Running a site like this has been a wild, fun ride. I’ve had experiences I never would have dreamt of — and would make my younger self envious: I’ve met some of my heroes, I’ve covered some amazingly talented artists, seen some memorable shows, traveled internationally to cover music and I’ve met some of the nicest, kindest and most open people in the world.

I firmly believe that this site offers something different and necessary — and it needs to be continued and championed. Like everything else in our world, running a site like this costs time and money. And sadly, it ain’t cheap.  So a few months ago, I joined Patreon as a way to help support my creative endeavors and this site.

I wanted to give a shoutout to this site’s generous and kind patrons:


Alice Northover

Bella Fox

Jenny MacRostie

Thank y’all so much for your support. Your support keeps the engine of this site going. Of course, I’m still asking for your assistance, donations and your love. Check out the page for more information:

Before I forget, another way, you can help is this: if you enjoy what I do here, please pass the word on about this site.

New Audio: French DJ and Producer The Wooden Cross Remixes Deleo’s “Unfair”

With the release of “Unfair,” the emerging, Montpelier, France-based indie act Deleo — Emy Eris, Romain Viguier, Nicholas Gaeremynck, and Robin Olivier — quickly established their sound: a trip hop-inspired sound with elements of pop, electro pop and rock within a slow-burning and anthemic single. 

The Wooden Cross, is a French DJ, electronic music artist and producer, who spent several years as a resident DJ for the PACHA Group, a collection of ten well-regarded nightclubs around the world. He was able to spin records at clubs around the world and introduce listeners to his own original work: some of that work wound up being released as singles through PACHA Recordings and other labels, including “Rendez-Vous,” which became the closing anthem of PACHA Ibiza. The enigmatic and highly-regarded DJ recently remixed Deleo’s “Unfair,” turning the slow-burning single into a sultry and summery club banger, centered around shimmering synth arpeggios, atmospheric vocal samples and electronics and skittering beats — while retaining Emy Eris’ pop belter vocals and the original’s enormous hooks. 

I’ve written a bit about the Ipswich, UK-born, London-based singer/songwriter and guitarist Hannah Scott over the past couple of years. And as you may recall much of her work is influenced by her own personal experiences, including  a year she spent working on an olive press in rural Tuscany, Italy in her late teens, her diagnosis with a form of arthritis, which causes severe joint pain and fatigue, as well as the experiences of the people in her life.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London. But as the story goes, they both recognized that they may have encountered each other years earlier, when Scott used to pass through the train station that Della Casa worked in at the time. Interestingly, when Scott and Della Casa began working together, they also quickly recognized that they had a deep and abiding creative connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and relatively happy childhood.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times and in a relatively short time, they’ve built up a profile both nationally and internationally with write-ups in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Since I caught her at Mondo.NYC, Scott has been pretty busy releasing new material including 2018’s full-length Pieces of the Night which firmly established Scott’s sound and approach: emotive and heartfelt songwriting paired with a cinematic production featuring organic instrumentation — acoustic guitar, cello and vocals — with atmospheric electronics. Last year, she released the gorgeous Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire,” which managed to be one of the Ipswich-born, London-based singer/songwriter’s most urgent songs, as it’s a plea to the listener to take a chance to open up to life and possibility before it’s too late.

The Della Casa co-written and produced “Shape” is the latest single from the JOVM mainstay and it’s also the latest single off her forthcoming full-length album. Centered around a cinematic production featuring twinkling keys, atmospheric synths, Scott’s emotive vocals and an enormous hook the song further cements the sound and approach that has won Scott attention across the blogosphere. Much like “Walk a Wire,” the song showcases her narrative-based songwriting, with the song recounting the story of how her maternal grandmother refused to accept her mother’s engagement to her father, threatening to never speak to her mother again if they got married. Her grandmother kept her word for over 20 years. As a result, the song expresses an overwhelming sense of regret and loss, as well as the sense of time rushing by and missing the small yet very important things — the birth of one’s grandchild, Christmases and the like.




Danny Green is a London-based singer/songwriter, best known for his time fronting British folk pop act Laish — and with Laish, Green released four critically applauded albums through French indie label Tailres and toured extensively across the UK, the European Union and the States to support each of those albums.

Green’s life changed when he met his soon-to-be wife Leanna “LG” Green last March. By December, Green and LG were married. For their honeymoon, they decided to spend six months traveling across South America with a simple recording set up that they carried in a backpack. And that’s how their newest project DG Solaris began.  “In between swimming with sea-lions, exploring sacred plant medicines and climbing mountains, we have been searching for beautiful spaces to set up our backpack studio,” DG Solaris’ core duo explain in press notes. “All of our recordings feature the sounds of birds, cicadas and crickets.”

Returning to London after their honeymoon, the duo recruited Tom Chadd, Matt Canty and Matt Hardy to help flesh out the material they wrote and demoed during their trip across South America. The end result is the act’s forthcoming full-length debut Spirit Glow, which is slated for release in May. The album reportedly sees a more focused development to Green’s songwriting with the material mixing elements of 70s psych pop, synth pop, krautrock and prog in a unique fashion: the material is essentially a textural journey through different emotional realms. “We wanted to explore the idea of two voices, two spirits, two creative minds and see where this dynamic could take us,” DG Solaris’ Leana Green says in press notes. Danny Green adds, “It has been an incredibly inspiring trip. We came back with over forty songs and it has been a challenge to chose our favourites for this first album.”

Spirit Glow‘s latest single is the woozy and lurching “Brother I’ll Ask Her.” Centered around an expansive and mind-bending song structure — a pastoral and slow-burning introduction, a middle section that sounds like a synthesis of Fleetwood Mac and Nick Drake before ending with a krautrock-like coda with a motorik groove with flittering flute and arpeggios synths, the track is a hallucinogenic fever dream that draws from deeply personal experience: a painful shamanic experience in the Peruvian jungle. But what holds the whole thing together is the Greens’ unerring ability to craft an enormous and infectious hook.



The Lounge Society — Cameron Davey (vocals, bass), Archie Dewis (drums), Herbie May (guitar) and Hani Paskin-Hussain (guitar) — are a young, rapidly rising band from Hebden Bridge, West Yorkshire, UK. In a relatively short time, the band whose members are roughly around the ages of 16-17 have quickly developed a reputation for making music that kicks the listener in the teeth with the band taking a fresh approach to an eclectic arrange of influences that include The Fall, Talking Heads, The Velvet Underground and Fat White Family among others. And from all accounts, the young quartet may be the next act hailing from Northern England that will be the next emerging band from Northern England to dominate the blogosphere, adding their names to the lies of Working Men’s Club, JOVM mainstays The Orielles and WH Lung.

The emerging band had already caught the attention of Speedy Wunderground co-founders Pierre Hall, Dan Carey, and Alexis Smith, so when the band’s manager contacted the label by email, Hall and Carey quickly recognized that they were in a now-or-never moment. Because of the band’s youth, they needed together permission to miss their music exams in order to come down to Speedy Wunderground’s Streatham headquarters and studio — and they had to have an adult guardian to check them into the nearby hotel they booked for the sessions.

The members of The Lounge Society made quite an impression on the folks at Speedy Wunderkind: “They are great. Really fun to work with — and a fucking amazing band,” Dan Carey enthuses. The day that the band entered the studio, things happened quickly: after messing around a bit with the members of the band trying out different amps and guitars. As soon as they were ready, Carey set the mood of the sessions by turning the lights off and turning on the smoke machine and lasers. And as they started to play, the building’s smoke alarm went off, which according to the band and the label was the first time that had ever happened.

The end result is the band’s expansive and breakneck debut single “Generation Game.” Clocking in at 5:30 the track is essentially comprised of a handful of different stylistic and sonic movements — with elements of shoegaze, psych rock, psych punk and Brit Pop — that are barely held together by a propulsive rhythm section; at points the band is a furious, runaway train of youthful rambunctiousness and abandon, piss and vinegar, and distortion pedaled power chords. Much like their Northern English counterparts, the members of The Lounge Society specialize in a difficult to pigeonhole sound — and they do so with a self-assuredness that belies their youth.

“We went through the track and there was a real energy in the room, it was like being at a gig which is exactly what this track needed,” the rising Northern English band says in press notes. “‘Generation Game’ means a lot to all of us, and we feel it’s an ideal introduction to us as a band. To us the lyrics reflect what we’re all about – shedding light on topics and events we feel are criminally ignored – and for it to be our very first offering to the world (especially through Speedy) really helps get that across. Once we’d finished the take we all stopped dead and looked at each other (and Dan) and he just said ‘that’s it, that’s the one’. I think we were all a bit shocked but the energy was there on the recording and we completely trusted him!”

The band adds “I don’t think it’s sunk in yet that we’re releasing a single with Speedy. It’s always been a dream for all of us to record with Dan Carey and release with Speedy. We love their ethos and all the music they’ve put out in the past, it’s a great scene.

New Video: Francesca Blanchard Releases a Haunting Visual for “Did It To Myself”

Francesca Blanchard is an acclaimed French-born, Burlington, VT-based singer/songwriter. Since the release of her bilingual folk debut album, 2015’s Deux Visions, Blanchard has developed a reputation for relentlessly redefining her wheelhouse, her aoudad and approach. Following a year of extensive touring throughout the States and the European Union, Blanchard took time to rediscover what she wanted to say — and how exactly she wanted to say it: she started to experiment with a growing interest in production, which is a decided departure from the acoustic and folksy sound of her earliest material. 

The end result is melodic, indie pop that may arguably be the most vulnerable, cathartic and self-aware that the acclaimed French-born, Vermont-based singer/songwriter has written and released in her growing catalog — while revealing a songwriter, who has an unerring ability to write an infectious hook.  Blanchard’s latest single is the slow-burning and brooding “Did It To Myself.” Centered around atmospheric electronics, shimmering strummed guitars and Blanchard’s achingly plaintive vocals, “Did It To Myself” sounds as though it were indebted to Kate Bush and Dido — and it may be the most heartbreakingly honest song she has written to date. 

As Blanchard explains in press notes, “‘Did It To Myself’ is about admitting my part in my own pain. It is masochism veiled in heartbreak. Sometimes were ask to be hurt without realizing, and we eventually (hopefully) catch ourselves. I wrote it in between saying goodbye to someone I thought I needed and opening a door to something that would change me for the better.”

The recently released video features Blanchard dressed in an old-fashioned blue gown wandering the streets and subways of my beloved New York — in particular, Times Square, a G train passing past Bergen Street, Central Park, the 34th Street and 11th Avenue 7 train station, 9th Street and 4th Avenue G, F and R station and several other locations. And with most of the known world in quarantine as a result of the COVID-19 pandemic, the video is an eerie reminder of the world we’ve (hopefully) temporarily lost. 

Over the past few months, I’ve written quite a bit about the emerging and mysterious French electronic music artist, producer and latest JOVM mainstay artist
LutchamaK. The French artist and producer grew up as a voracious music fan and listen, who listened to and loved an eclectic array of music including hip-hop. dub, classical, rock, techno and a lengthy list of others. Unsurprisingly,  while his work is deeply influenced by techno, it reflects a devotion to a lifelong eclecticism: his first two EPs, which he managed to create during lunch breaks at his day job featured material that meshed elements of techno, house and EDM among others. 
Now, as you may recall the French JOVM mainstay has been gearing up to release his full-length debut Invisible Realm but in the meantime, he has managed to be incredibly prolific. Before the album’s release, LutchamaK has another EP Joy Inside — and interestingly enough, he has released two singles off the EP: the shimmering and slow-burning dub of “The Dream,” which is full of irie vibes, twinkling keys, tweeter and woofer rocking beats, a sinuous bass line and dreamy vocals coming out of the hazy mix, and the house music banger “I Do,” which features a hypnotic groove centered around wobbling low end, synth arpeggios and a sultry vocal hooks with subtle modulation. Both tracks will remind the listener of a producer, who masters several different styles and sounds — simultaneously.

Lyric Video: Dive Index Teams Up with Daughter Darling’s Natalie Walker on a Minimalist and Meditative Song

Will Thomas is a Los Angeles-based composer and electronic music producer best known as the creative mastermind behind the collaborative recording project Dive Index, the minimalist solo recording project Plumbline with which he has released several albums, including two collaborations with ambient music composer Roger Eno. Thomas has also composed scores for film, modern dance pieces and has developed sound installations. 

Thomas’ fifth Dive Index album Waving at Airplanes is slated for a May 29, 2020 release through Neutral Music. Deriving its title from the overly optimistic and childlike act of seeking the fleeting attention of passing strangers for the sake of sheer connection, the forthcoming album will continue Thomas’ long-held thematic interest in exploring both the human condition and the condition of humanity — while also touching upon missed connections, artificial intelligence, contentment, the beauty of the desert and our uncertain political climate. Interestingly, the album continues his ongoing collaboration with Daughter Darling’s Natalie Walker and critically acclaimed English multi-instrumentalist Merz.

The album’s material reportedly finds Thomas setting specific parameters to the material’s overall sound and construction, souring almost everything, including percussion from modular synthesizer with the exception of some piano, acoustic guitar and occasional extraneous sounds — a nail gun and jackhammer — that leaked into the studio and were embraced into the songs. 

Waving at Airplanes’ latest single is the atmospheric and cinematic “Window to Window.” Centered around Natalie Walker’s gorgeous and achingly expressive vocals, twinkling keys, shimmering synths and thumping low-end, is visceral and intimate, and full of regret over lost moments, missed and blown opportunities, passing time and getting older  — and manages to recall Portishead and Tales of Us-era Goldfrapp. 

New Video: Night Flight’s Gorgeous and Mournful Meditation on Loss and Grief

With the release of their debut EP, 2017’s Wanderlust, its follow up, 2018’s Carousel EP and that year’s full-length debut, the London-based indie folk act Night Flight, led by its Rye, UK-born, London-based primary songwriter and frontman Sam Holmes quickly developed a reputation for crafting material that paired earnest lyrics, enormous hooks and cinematic-leaning instrumentals. 

Building upon a growing profile, the London-based act’s recently released EP White Noise is the long-awaited follow up to their full-length debut — and thematically, the EP’s songs explore disillusionment, isolation and self-reflection in the midst of personal recovery. Interestingly, White Noise’s material was written during a period of transition for both the band and for its frontman personally: the EP was predominantly written in Holmes’ hometown of Rye. “There are moments on it that feel darker than anything we’ve done before,” the band’s Sam Holmes says in press notes. “The production is still considerate of the songs, but there’s more imagination. Hopefully the music conveys the range of emotions felt in moments of high change; loss, nostalgia, self-doubt and positivity.”

The EP’s latest single is the shimmering and achingly mournful “Rye.” Centered around strummed acoustic guitar, Holmes’ expressive vocals, gently padded drums and a  soaring hook, the cinematic song, which manages to recall Parachutes-era Coldplay and others explores newfound solitude and nostalgia in the midst of grief over a profound loss — while paying homage to Holmes’ hometown. 

Directed by Jonny Ruff and the band’s Sam Holmes, the recently released video for “Rye” is a gorgeous and cinematically shot visual centered around longing, nostalgia and the emptiness of loss as we see a couple, which includes Imogen Comrie driving around in a car — but sometimes going in reverse, sometimes going forward. Towards the end, we just see Comrie driving by herself, and it turns the song into a heartbreaking tear-jerker.