News/Announcements by William Ruben Helms

News/Announcements: Shoutouts to Patreon Patrons, Creatives Rebuild New York and Asian Arts Initiative

Earlier this year, I announced that JOVM had to go on a forced, indefinite hiatus. For a significant portion of this year, I just couldn’t financially manage all the various subscription fees to keep this site going as I had been — and as I would prefer. 

In the two months prior to the hiatus, my business plan was pulled and the site was broken and essentially disappeared. Over a decade worth of music, arts and culture coverage were lost in the ether — seemingly forever or until I could figure out subscription fees. It also meant that whatever money I was making through ad revenue, disappeared, too.

So, it meant taking some time to figure out what I could do and what was next. With all the unexpected free time I had without JOVM-related work, I admittedly went through a bunch of different emotions. For the first handful of days, I felt extremely depressed. Getting out of bed, showering and putting on clothes was difficult.

By the third or fourth day, I realized that I needed to do something different or I’d fall into a very deep hole. I wound up going on several long walks with my Canon R6 Mark II in hand. It kept me busy. Hell, it kept my mind busy on something else. And initially at least, it didn’t matter if the photos would be shared anywhere or not. But I did wind up sharing them on Instagram — because that’s what you do, right?

Now, remember JOVM has been a daily part of my life for over 15 years. And it’s been a daily part of some of your lives for much of that period, too. Being able to return to this work — for you, dear reader — has been a great joy. 

As always, there are some folks that I need to thank. 

First, the Patreon Patrons, who have supported me through over the course of the past few years:

Sash

Alice Northover

Bella Fox

Jenny MacRostie

Janene Otten 

I must thank my pal and colleague Adam Bernard for chatting with me about JOVM and the site’s hiatus last month. You can check out the interview, in which I talk about how important it is to support independent journalists here: https://adambernard.blogspot.com/2025/09/saving-one-mans-movement-convo-with.html

I have to thank the helpful, hardworking and dedicated folks at Creatives Rebuild New York. I’m proud, gratified and humbled to have been included in their 18-month Guaranteed Income for Artists program. Understandably, being included was also deeply vindicating. Someone out there thought my work — this very work! — was worth supporting financially. Obviously, the funds from it have managed to keep this labor of love going during one of the most uncertain periods in recent human history, while lessening some of the normal financial pressures of being an American artist, creator and journalist. 

I also found out about Asian Arts Initiative’s Sound Type Workshop through Creatives Rebuild New York. So, I just can’t thank those folks enough. And I’ll forever be in their debt. 

I must thank the folks at the Asian Arts Initiative in Philadelphia for selecting me for the Sound Type Music Writer Workshop. Being a part of the inaugural cohort was an honor. 

I also have to thank my man John Morrison, Philly’s preeminent music journalist for the support and encouragement. 

Last but not least, I have to thank a friend, who will remain anonymous upon their request for their generosity and support. 

Now, I must remind y’all, that The Joy of Violent Movement is a completely independent and completely D.I.Y. media outlet. Over the course of this site’s 15+ year history, I’ve used my fiercely independent stance to cover music with an eclectic and global perspective that a lot of other publications just don’t have — and will likely never have. 

To that end, I could use your support to continue to keep bringing you my unique global perspective on music. There are a number of ways that you can support this work. 

I’ve been told that some people would prefer to make a one-time donation because it’s easy and less of an obligation. So, if you’re able to make a one-time donation, there’s a donation box below. 

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If you’re willing and able to support more regularly, please feel free to check out my Patreon: https://www.patreon.com/TheJoyofViolentMovement. 

Anything you can give is very much appreciated. It can and does make a real difference, y’all. 

I know that a lot of folks are struggling to make ends meet in an uncertain and tumultuous economic climate. So there are other, non-financial ways in which you can support this work. 

You can follow me on the following social platforms:

X/Twitter: @yankee32879 and @joyofviolent 

Instagram: @william_ruben_helms

Threads: @william_ruben_helms

Bluesky: @williamrubenhelms.bsky.social

Facebook: https://www.facebook.com/TheJoyofViolentMovement

As always, if there are posts that you dig, share them with your friends. The more eyeballs on my work, the better.

Video by William Ruben Helms

New Video: Hop! Hop! Diablo Funk Share Joyous and Funky “Bailas como un diablo”

Since forming back in 2014, Mexican outfit Hop! Hop! Diablo Funk — Jud (vocal) MC Rita (guitar), Coros Perico (guitar), Coros Damien (drums), Jona (trumpet), Bajo Hector (trumpet), Eli (sax), Dyanata (trombone) — have stood out for crafting a sound that draws from rock, funk and several other genres paired with lyrics that address every day life situations, social issues and more.

While making their rounds of their national festival circuit with sets at La Fiesta de la Música, Rock x la Vida, Vibra Chapultepec, Zocalo, Hop! Hop! Diablo Funk, the band has also established a reputation for a dynamic and fun live set.

Hop! Hop! Diablo Funk’s latest single “Bailas como un diablo” is an ecstatic, nostalgia-including song that channels a seamless synthesis of 80s Gloria Estefan and the Miami Sound Machine and 70s disco while showcasing a band that can craft a dance floor friendly groove and a remarkably catchy hook.

Look, shit is bleak right now. And it’s going to get dire — soon. This song is a much-needed joy bomb, a reminder that everyone has to grab hold of a bit of fun whenever and however they could. It’s the only way that you’ll be able to survive.

FYI: For those who are sensitive to strobe light, the accompanying video features flashing lights. Besides that the video features the band — fittingly — playing on a flashing Saturday Night Fever-inspired stage with a disco ball just above them.

Video by William Ruben Helms

New Video: Hallucinophonics Shares Brooding and Cinematic “Haze of Time”

British indie outfit Hallucinophonics exists as the crossroads of consciousness and sound, creating immersive, psychedelic soundscapes that defy and blend the boundaries between reality and dreams. Drawing inspiration from Pink Floyd, Tame Impala and others, they attempt to create music that’s both an artistic statement and a transformative experience.

Ranging from space rock anthems to introspective, nocturnal transmissions, the British indie outfit weaves ethereal textures, progressive song structures and hypnotic rhythms while their material explores themes of evolving consciousness and existential discovery.

Their latest single “Haze of Time” may arguably be the most New Wave and goth-like tune of their growing catalog. Channeling Heaven Up Here-era Echo and The Bunnymen and The Cure, “Haze of Time” features angular, driving bass lines, jangling and swirling guitars serving as a broodingly eerie and cinematic bed for yearning, achingly plaintive vocal. The song seemingly evokes the feel and vibe of spooky season with an uncanny specificity.

The accompanying video follows a denim-clad young woman expressively dancing in a graffiti alley — but as the video progresses, it suggests that the line between sanity and insanity is very thin.

Video by William Ruben Helms

Throwback: Happy 60th Birthday, Gavin Rossdale!

JOVM’s William Ruben Helms celebrates Bush frontman Gavin Rossdale’s 60th — yeah, 60th! — birthday.

Video by William Ruben Helms

Throwback: Happy 86th Birthday, Grace Slick!

JOVM’s William Ruben Helms celebrates Jefferson Airplane, Jefferson Starship and Starship frontperson Grace Slick’s 86th birthday.

Single Review by William Ruben Helms

New Audio: The Orielles Share Expansive “Three Halves”

Acclaimed, Manchester, UK-based JOVM mainstays The Orielles — Esmé Dee Hand-Halford (bass, vocals), Sidonie Dee Hand-Halford (drums, vocals) and Henry Carlyle Wade (guitar, vocals) — will be releasing their fourth album, the Joel Anthony Patchett-produced Only You Left through Heavenly Recordings on March 13, 2026.

Recorded last summer in two locations — the Greek Island of Hydra and Hamburg — the forthcoming, 11-song Only You Left reportedly sees the band consolidating the bold experimentation of 2022’s Tableau with the more stripped-back, song-driven approach of their earlier releases, channeling a return to the familiar. “There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio.

Now, as you may remember, the JOVM mainstays, which originally started out in Halifax gained attention both nationally and internationally with the release of their full-length debut, 2018’s Silver Dollar Moment, which will celebrate its eighth birthday this upcoming February. “These things come in like seven year cycles. So we’ve come in like a full circle back to a familiar place, just as different people,” the band says.

As for the foundations of the forthcoming album, the band’s Henry Carlyle Wade says “You’ve got to die and be reborn between albums.” “It comes naturally, the band’s Esmé Hand-Halford adds, “it’s not something we consciously do.” Interestingly through this process of creative renewal, the JOVM mainstays have managed to weather a pandemic, the fickleness of a trend-driven music industry and somehow emerge with something that’s familiar yet completely different.

According to Wade, the first ideas for the new album can be traced back to May 2023: Esmé Hand-Halford had purchased a freeze pedal, which allowed her to play around with sustained notes on her guitar. These heavy drones would later form the background of album tracks “Wasp” and “Three Halves.” 

In breaks between tours, the bands began to meet up and record their practice room sessions, later analyzing the voice notes with a granular attention to detail. “We recorded everything on our phones, every snippet,” explains Henry. “We went so deep into what each song needed or what we wanted to hear from it.”

While the Tableau sessions were semi-improvisational and partially written in the recording studio, Only You Left was fleshed out through a series of intense writing sessions between May 2023 and last summer. Each of the album’s 11 songs were meticulously refined and became its own distinctive work. “It almost felt really novel for us to be writing as a three-piece and really, really crafting these songs,” the band’s Esmé Hand-Halford recalls. “But Tableau gave us that confidence to know we could go into a studio and pull things together in that setting under the time pressure.”

Producer and engineer Joel Anthony Patchett, whom Esmé Hand-Halford dubs the honorary fourth member of the band, has had a massive influence on the album’s sound and approach. “Joel brings an extra level of interpretation and deep listening,” Henry Carlyle Wade says, “and it’s always exciting to explore that.” Sidonie Hand-Halford adds, “He’s constantly talking us through every step of what he’s doing and getting really, really involved with that process as well. And we’re just kind of learning together and making these mistakes and discovering things together.”

Only You Left‘s first single “Three Halves” derives its title when Wade stitched together three recordings on Ableton and needed a working title. What began as a temporary placeholder soon became a theme for Esmé Hand-Halford to riff on, a metaphor for the trio and their deeply shared connection.

At points noisy and driving and dreamlike and mediative in others, “Three Halves” is an expansive study in contrasts that’s experimental yet accessible while anchored by the razor sharp hooks that the Manchester-based outfit had been known for.

“Citing ideas that we took interest in during the early stages of writing the new record, ‘Three Halves’ flips between its absurd contrasts as the name suggests,” the band says. “Built upon a soundscape of droning organs, guitar, and cello it floats between noise and emptiness, precision, and catharsis, welcoming each half leads into the next.”

Video by William Ruben Helms

New Video: Ulrika Spacek Shares Eerily Atmospheric “Build a box Then Break It”

Formed back in 2014, London-based art rock outfit Ulrika Spacek — founding members Rhys Edwards (vocals, guitar) and Rhys Williams (guitar) , alongside Joseph Stone (guitar, keys), Callum Brown (drums), Syd Kemp (bass) — can trace their origins back to a night the band’s founding duo spent in Berlin, where the pair conceptualized the project around their mutually held passions and influences — in particular, Television, Pavement, Sonic Youth and krautrock.

Upon the duo’s return to the UK, they began working on the material that would eventually comprise their full-length debut, 2016’s The Album Paranoia, which featured album tracks “She’s A Cult,” and “Strawberry Glue.”

Since then, the project which started out as a duo, expanded to quintet with the addition of Stone, Callum, Brown and Kemp – and then released 2017’s critically applauded sophomore album, Modern English Decoration, an album that saw the band pushing their sound into a more textured territory. Their third and latest album, last year’s Compact Trauma channeled the anxiety and dislocation of the modernize age through a prismatic haze of guitars, loops and elliptical lyrics.

The British art rock outfit’s highly-anticipated fourth album EXPO is slated for a February 6, 2026 release through Full Time Hobby. Unlike its predecessors, which looked within EXPO reportedly holds a mirror up to the world and captures a warped reflection. The material was deeply informed by the band’s most recent American tour and was written while the band’s Rhys Edwards was awaiting the birth of his daughter, and started to wonder what kind of future world she’d inherit.

Although their foundations have long been in art rock, they’ve been increasingly drawing from electronic elements. But as a band, they’re interested in the glitchy space that exists between the two. And as a result, their most recent work reckons with human warmth and digital isolation, while being welcoming and alienating, exploring the uneasy tension of modern life as we know it. “Our music has always been a collage – a bit patchwork, sonically – but what makes this album a landmark for us is that we went one step further and made our own sound bank and essentially sampled ourselves,” the band says.

The band creates their own doppelgängers in a world of almost-real, where the band appears as if they’re in a funhouse hall of mirrors. Digital drums are sampled and layered over real drums and the like, creating an eerie, spectral vibe. Sonically, album’s material grapples with the organic and the digital while dancing across musical languages.

EXPO‘s first single “Build a Box Then Break It” serves a de-facto album mission statement that sees the band actively pushing their sound into a new, liminal space. Seemingly channeling Geoff Barrow‘s work with Portishead and Beak>, Radiohead‘s Amnesiac and The Orielles‘ The Goyt Method EP, “Build a Box Then Break It,” features sampled upon sampled breakbeats, eerily atmospheric synths and squiggling guitars serving as a broodingly uneasy bed for Rhys Edwards’ plaintive and uncannily Thom Yorke-like delivery. The new single evokes our fractured experience of reality, reflected not through our eyes but through various screens.

The accompanying video was edited by Low Limit Vision and features live footage shot by Pedro Soler interspersed with title cards, math equations and other ephemeral imagery.

Video by William Ruben Helms

Lyric Video: JOVM Mainstay GUM Shares Meditative “Expanding Blue”

Aussie singer/songwriter and multi-instrumentalist Jay Watson has a firmly established reputation for being both incredibly prolific and a highly-sought after collaborator:

  • Watson is the creative mastermind behind the JOVM mainstay recording project GUM, with which he has written, recorded and released six albums, including 2020’s Out In The World and 2023’s Saturnia.

  • Watson is also the co-founder and co-frontman of fellow JOVM mainstay act Pond, which has released 10 studio albums, including 2022’s 9 and last year’s Stung!

  • Lastly, the wildly busy Aussie singer/songwriter and multi-instrumentalist is a touring member of acclaimed, JOVM mainstay Tame Impala‘s live, touring band.

With that massive, continually growing recorded output over the past decade-plus or so, Watson has treated listeners and fans to arguably some of the most sonically diverse and eclectic explorations of anyone in the contemporary music scene.

Watson recently signed to King Gizzard and the Lizard Wizard‘s (p)doom records, who released the self-produced, standalone single “Expanding Blue,” the first bit of new material from the JOVM mainstay since Saturnia. The meditative, new single is one-part Nick Drake-inspired psych folk, one-part samba/jazz-fusion tune, anchored by a looping strummed acoustic figure and a sweetly romantic yearning — for a dear one, and for something much deeper, more spiritual.

“’Expanding Blue’ starts out as a jazz inspired meditation, and turns into something spiritual for me, like a lost gospel soul record or something,” the GUM creative mastermind says.

King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith adds, “Welcome back to the p(doom) fam my man Gumby! He’s done it again. Another stellar release from Freo’s finest.”

New Audio by William Ruben Helms

New Audio: Vendredi Sur Mer Shares Atmospheric, Hook-Driven “Si t’étais là”

With the release of her first two albums, 2019’s Premiers émois and 2022’s Metámorphose, rising Swiss singer/songwriter and photographer and Vendredi Sur Mer creative mastermind Charline Mignot quickly established a cinematic sound that features elements of synth pop, French chanson and 80s pop with retro-styled beats paired with her ethereal yet sultry delivery. Thematically her work frequently touches upon romance, sensuality and introspection.

Balancing nostalgia with a modern sensibility, the Swiss artist has won over fans globally through the release of songs like “Écoute Chérie,” “La femme à peau bleue” and “Les filles désirs.” Adding to a rapidly growing profile, she often accompanies her music with mesmerizing visuals.

Mignot’s third Vendredi Sur Mer album, Malabar Princess was released earlier this year to critical acclaim. The album, which features “Arrêter le temps,” feat. Sofiane Pamart; album title track “Malabar Princess;” “Hard,” feat. Hanni El Khatib and “Tout rèsonne” can trace its origins to a writing residency in Montréal and marks a return to the softness and nostalgia of her earlier work. Thematically, the album is nostalgic return to the mountain landscapes of her youth — and a deeper search for self.

Sam Tiba and new collaborators Adrien Gallo and Owlle helped to guide and inform the material’s more organic, intimate sound. The end result is an achingly sincere effort that sees the rising Swiss artist revealing herself fully to the world.

Mignot will be embarking on an 11-date North American tour this upcoming March. The tour includes a March 6, 2026 stop at Elsewhere. You can check out all of her tour dates for the rest of the 2025 and early 2026 below.

But in the meantime, y’all, the rising Swiss artist shares her latest single, the standalone track “Si t’étais là.” Anchored around shimmering, atmospheric synths, propulsive four-on-the-floor, a supple bass line and subtle bursts of twangy guitar, the cinematic and hook-driven production is simultaneously nostalgic yet contemporary, while being a dreamy bed for Mignot’s breathy, mesmerizing cooing.

Video by William Ruben Helms

New Video: Tucson’s Mute Swan Shares woozy “Hypnosis Tapes”

With the release of their debut EP, 2016’s Ultraviolet and their full-length debut, 2021’s Only Ever, Tucson-based shoegaze/dream pop outfit Mute Swan — currently, Mike Barnett (guitar/vocals), Prabjit Virdee (bass, vocals), and Gilbert Flores (drums) — quickly established a swirling, densely layered take on psych rock that some critics and others have compared to Of Montreal and Soft Bulletin-era Flaming Lips.

2021’s Only Ever was released to praise from The FADER, Merry-Go-Round Magazine and several others, as well as airplay on KEXP.

The band recently signed to Hit The North Records/Wooden Tooth Records, who released the Tucson-based outfit’s latest single “Hypnosis Tapes.” The new single is the first bit of new of material from the band since their debut album — and is part of a batch of material that will be posthumously released after the tragic death of founding member Thomas Sloane.

“Hypnosis Tapes” features Barnett’s breathy delivery ethereally floating over a woozy soundscape featuring glitchy and swelling electronics, fuzzy, acid-tinged guitars paired with relentlessly driving four-on-floor. While still drawing from shoegaze, “Hypnosis Tapes” may arguably be the most Brit Pop-leaning track of their growing catalog to date.

“We had only approved the final mix of this song weeks before when we lost our best friend and guitarist, Tom Sloane. It is the first of a collection of his last songs we felt especially determined to give a proper release into the world,” the band’s Mike Barnett says. “Displaying some of his best textural guitarwork, this song is about finding some kind of inner peace through the noise of chaotic times and endless mental chatter. There’s a meditation tape sampled at the end, as well as a vacuum cleaner in reverse at the beginning (an inside joke of ours).”

Directed by the band’s Mike Barnett, the accompanying video for “Hypnosis Tapes” features the band’s three surviving members hanging out in someone’s living room. Virdee and Flores are busy fiddling around while Barnett strums his guitar and sings. And it’s all set in trippy kaleidoscopic filters, which sees the members melt and morph into one another.

The new single and video comes on the heels of the Tucson-based band playing opening slots for Horse Jumper of Love, Wednesday, Tanukichan and Peel Dream Magazine, as well as a set at this year’s Levitation Festival. The band has big plans for next year, so be on the lookout.
 

Video by William Ruben Helms

Live Footage: The Charlatans UK Perform “We Are Love” on “Later . . . with Jools Holland”

The Charlatans UK — Tim Burgess (vocals), Martin Blunt (bass), Mark Collins (guitar), Tony Rogers (keys) and The Verve co-founder Pete Salisbury (drums) — are arguably one of the best-loved and commercially British bands of the past 40 years or so. Over the course of their lengthy run, the band has released 13 albums, 3 of which earned #1 on the UK Albums Charts with 22 Top 40 UK singles, including “The Only One I Know,” “North Country Boy” and “One to Another.” 

The acclaimed British outfit’s long awaited, highly anticipated 14th album, the Dev Hynes, Fred Macpherson and Stephen Street co-produced We Are Love is slated for a Friday release through BMG. The first album from the acclaimed outfit in eight years, the longest gap in their history, was a result of the COVID-19 pandemic, the individual members’ solo projects and side projects, life’s twists, turns and complexities and the fact that each of the band’s individual members live scattered across Europe. With all of that going on, it took longer than usual to figure out schedules; for the stars to align; and for the right vibe and right time. 

Recoded at two places that are seemingly apocryphal in the band’s history — Wales-based Rockfield Studios and the band’s Middlewich, Chesire-based Big Mushroom, We Are Love reportedly sees the band launching into a bold new era, one that finds them at peace with their past while looking forward to the future. The band’s Tim Burgess cites hauntology and psychogeography as two major concepts that swirled in his head as the band worked on the album. 

The band returned to Rockfield Studs for the first time since the recording sessions for the fifth album, 1997’s Tellin’ Stories. As a band, they hadn’t been there since keyboardist Rob Collins’ death, in the middle of that album’s sessions, in a car accident at the bottom of the track leading to the farm surrounding the studio. Reportedly throughout the album, you can hear the band’s awareness of the things that made them — the highs and lows the desire to honor their own legacy, while not being deeply defined by it; and a career-long drive to be innovative and progressive. “The whole idea of hauntology and psychogeography is represented by us going back to Rockfield, where so much history has happened for The Charlatans,” the band’s Tim Burgess says. “That was important as a way of honoring every member who’s played in the band. So we’re honouring ourselves, our past, feeling that energy and reincarnating it, doing something fresh, brand new.” 

The album’s introspective creative process, brought home the fact that love has been the glue that has held the band together for so long, and ultimately that’s reflected on the album’s 11, forward-thinking, future-facing songs. 

We Are Love‘s first single, album title track “We Are Love” is a defiantly upbeat, road trip-meets-big venue/festival anthem, anchored by a propulsive, motorik groove and rousingly anthemic hooks and choruses. Tim Burgess describes it as “like an open-top car ride in the credits of your favorite movie, driving along the coast to somewhere amazing.”

One of the first tracks to emerge as they were writing material, “We Are Love” became a pathfinder for the record as the band’s Mark Collins explains: “Early on, we thought it felt right. And it turned out that way: first single, title track, second song on the album. And things started forming around ‘We Are Love.’ There was a certain energy to it that drove us forward.”

The acclaimed and beloved Brit pop act recently was on Later . . . with Jools Holland, where they performed album title track “We Are Love.”

Single Review by William Ruben Helms

New Audio: BMA Shares Broodingly Cinematic “The Unwritten Winter”

Through the release of 2020’s self-produced debut EP 2020’s Asynchronous and 2023’s full-length debut, Ephemeral, the French-born, Canadian composer, multi-instrumentalist and BMA creative mastermind Bruno Margiotta quickly established a broodingly cinematic sound that draws from post-punk, classical music and electronic music.

The French-born, Canadian-based artist’s recently released sophomore album, Born From The Last Rain features album single “The Unwritten Winter,” a broodingly cinematic composition anchored around a woozily looping guitar figure, twinkling keys and glistening retro-futuristic synths that further cements Margiotta’s sound — a sound that seemingly channels Mogwai, Collapse Under The Empire and others.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay SHOLTO Returns with Dreamy “Tied to the Mast”

Initially known as being one-half of indie outfit Sunglasses for Jaws, the rising London-based producer, composer and multi-instrumentalist Oscar “Sholto” Robertson grew up with with a deep and abiding love of jazz, soul, krautrock and soundtracks from the 60s and 70s. As a producer, Robertson honed his production skills under the guidance and tutelage of Allah-Las‘ Nick Waterhouse and Inflo.

A handful of years ago, Roberston stepped out into the spotlight as a solo artist with his recording project, SHOLTO. And with SHOLTO, the rising London-based multi-instrumentalist has firmly cemented a cinematic take on instrumental, psychedelic soul.

Robertson’s highly-anticipated sophomore SHOLTO album, The Sirens is slated for a November 21, 2025 release through DeepMatter Records. Recorded at the London-based composer, producer and multi-instrumentalist’s Hackney-based SJF Studio, the 12-song album sees Robertson continuing an ongoing collaboration with a familiar cast of musicians, who have helped flesh out the gorgeous, string section accentuated, groove-driven soundscapes he’s developed, including Syd Kemp (bass), Clementine Brown (strings) and Rachel Horton Kitchlew (harp).

The album will see Roberson and his collaborators crafting an album of material that’s emotionally unflinching and explores themes of duality, temptation and emotional dislocation, in Robertson’s words “blurring grief wit groove, seduction and surrender.” Sonically, the album’s material sees Robertson building upon the groove-driven, strings-soaked soundscapes and ethereal textures that has won him attention in the UK and elsewhere but inverting that beauty into a haunting fever dream.

Using the world of myth and the carnivalesque as a vehicle for exploring the intricacies of the human condition, The Sirens emerged from a period of uncertainty and spiritual fatigue. Drawing from ancient allegory to navigate through the inner turbulence he experienced, the album’s material is rooted in quiet defiance and tension that sometimes never quite resolves. While being deeply cinematic, the album’s material is anchored by Robertson’s rhythmic sensibility and dramatic vocal cues that drift in and out, evoking the ancient tale of the Sirens calling out to sailors while evoking dream sequences seemingly caught mid-thought. “The Sirens trades the ethereal shimmer of my earlier records with something a little more nuanced and emotionally unflinching, slightly darker. It doesn’t really resolve, just resonates – a love letter to the parts of ourselves we usually avoid.”

The Sirens‘ third and last pre-release single “Tied to the Mast” opens with a bursts of glitchy vocals being swallowed by breathtakingly gorgeous, twinkling strings before morphing into a swaggering, Motown/Daptone/Big Crown-like soul groove with an ethereal cacophony of vocals calling out from the swelling storm of sound. The song evokes a small boat out at sea that gets caught and pulled into — and then under — a swelling storm, before breaking apart and tossing its sailors into the sea.

“’Tied to the Mast’ is a stormy, myth-soaked odyssey. It opens with distant, glitchy siren-esque vocals – spectral and seductive, like ancient voices cutting through static,” Robertson says. “Then comes the drop – Odysseus lashed to the mast, as the storm climaxes the track unravels into a slow more haunting coda, melodies scattered like the wreckage. You’re left drifting and floating in the aftermath, unsure if you have survived or where always meant to crash.”