JOVM’s William Ruben Helms celebrates the iconic Debbie Harry’s 80th birthday.
Throwback: Happy 74th Birthday, Fred Schneider!
JOVM’s William Ruben Helms celebrates B52’s co-founder Fred Schneider’s 74th birthday.
Throwback: Happy 89th Birthday, Syl Johnson!
JOVM’s William Ruben Helms celebrates the 89th anniversary of the birth of Syl Johnson.
Throwback: Happy 90th Birthday, James Cotton!
JOVM’s William Ruben Helms celebrates the 90th anniversary of the birth of James Cotton.
Throwback: Happy 110th Birthday, Willie Dixon!
JOVM’s William Ruben Helms celebrates the 110th anniversary of the birth of Willie Dixon.
New Video: L’Eclair Teams Up WIth girl named GOLDEN on Languorous and Glittering “THE GLITCH”
With recorded output that includes 2018’s full-length debut, Polymood, 2019’s Sauropoda, 2020’s Noshtta EP and 2021’s Confusions, the acclaimed Swiss-based group L’Eclair, founded and led by Bulgarian-born siblings Stef and Yavov Lilov firmly established themselves as masters of mind-bending, cosmic-leaning groove.
Along with two live sessions for KEXP, which amassed over 900,000 views combined, the Swiss-based group have built up an international following, while landing on the playlists of adventurous listeners and DJs seeking deep grooves.
Meticulously crafted over the past four years, the acclaimed JOVM mainstays, highly-anticipated and recently released fourth album Cloud Drifter is a decided and radical departure from the Belgian group’s long-held instrumental approach with the album’s material featuring vocals from a wide and eclectic array of frequent collaborations that they’ve worked with over the past few years, including including Pink Slifu, Girl Named GOLDEN, Gelli Haha, A Ghost Column, and more.
Having toured with The Cinematic Orchestra and W.I.T.C.H. — including writing and recording W.I.T.C.H.’s 2023 effort Zango and The Cinematic Orchestra’s forthcoming album this year, as well as production work with Varnish La Piscine and Maston, the Lilov brothers have assembled a vast network of likeminded musicians. And across the entire album, they keenly curate a cohesive vision incorporating many disparate contributions.
In the lead-up to Cloud Drifter‘s release, I’ve written about three of the album’s singles:
- “ODESSOS,” featuring Phoebe Coco and A Ghost Column
- “VERTIGO“
- “REPLICA M001,” featuring Pink Slifu
CLOUD DRIFTER’S latest single “The GLITCH” feat. girl named GOLDEN is anchored around a slow-burning, languorous disco groove that serves as a lush bed for girl named GOLDEN’s dreamily yearning cooing.
The accompanying video for “THE GLITCH” features kaleidoscopically edited super 8 filmed footage of girl named GOLDEN performing at The Sultan Room, life on tour and in the studio with the acclaimed Belgians.
News/Announcements: Shoutouts to Patreon Patrons, Creatives Rebuild New York and Asian Arts Initiative
2025 has been one of the more embittering and frustrating years in recent memory. Earlier this year, I thought I had landed a dream job: I was going to be working for a well-regarded, French-based label and distributor, doing work closely related — and aligned — with my work here on JOVM. Remote work, which would allow me to travel. A stipend to go to festivals. Amazing benefits. Generous vacation time. And the sort of payday that would make my life and existence much more comfortable. The fucking dream!
Understandably, me and my dearest ones were thrilled. A lot of hard work and sacrifice finally paid off! Unfortunately, it all turned out to be smoke and mirrors, a fucking scam that resulted in my bank account being overdrawn. Sigh.
I haven’t been able to get any kind of regular work in almost a year — whether freelance, part-time or full-time. Trying to land work is more difficult than ever before: ATS. A.I. 20% of all listings being ghost jobs. Companies not knowing what they’re doing during the hiring process or changing their minds halfway through. 10,000 people applying to every open position within a few hours of the posting going live. And add the occasional networking event that doesn’t lead to much.
Although I’ve been able to get by here and there with a little help from my friends, as the song says, and from scrounging, scraping and scheming, I’m financially tapped out. Honestly, over the past six weeks or so, I’ve seriously considered giving up; of just walking away and closing up shop. Things have frankly felt extraordinarily difficult in a way that I haven’t experienced before. Nor does it help that we’re simultaneously sliding into a fascistic, autocratic dictatorship and into World War III. Everything is awesome, ain’t it?
Right now, I have a couple of (hopefully) simple asks of y’all, dear friends:
- If you’ve got leads for full-time, part-time, temporary or even project-based editorial, writing and/or photography work, please feel free to reach out. Remote work or work here in the five boroughs would be ideal. So if you follow me on social media, and you know of anything, holler at me through the DMs. And if you know of me IRL, feel free to send a text or email.
- If you’re able to give a donation, please free to donate. There’s a donation box on this page.
- If you’re able to regularly support JOVM through Patreon, please do so. That will be much appreciated, too. Anything you can give is much appreciated, especially in light of — well, (waving hands) everything.
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DonateDonate monthlyDonate yearlySo JOVM turned 15 just a few days.
When I started this site, I believed that I wouldn’t get a fair shot to do what I’ve done with this site on another outlet.
Growing up in Corona, Queens I was surrounded by a wildly eclectic, dynamic. global-minded environment. That environment has been a major influence on my life and my work. Look, there’s a lot of music out there. And some of it is awesome, criminally under-rated and not getting the attention it should.
I’ve managed carved out a unique path for myself — and in the blogosphere through a lot of hard work. Because music media — and generally the media world — is an incredibly homogeneous space, the coverage that you see as a consumer and fan tends to come from a startling similar perspective. Look at the editorial staff at your favorite music magazine, blog or website. Tell me what you see. And when you do see some degree of diversity, it was after many years of fighting, complaining and cajoling — and worse yet, it’s usually in a very limited fashion. It explains why you’ll see the same coverage of the same batches of artists, genres and styles with little difference and less variety.
With this current administration, things are going to get bad, then worse for marginalized communities, for artists and the arts, for small, independent media outlets, small businesses and for so many others. And all of this happened while large corporations and media outlets have happily bent their knees and lick boots out of fear and greed.
So it’ll be imperative upon all of you who are financially able and willing to support the work and efforts of artists, creators, writers and thinkers in marginalized groups: Yes, folks of color — especially women. LGBTQ+ folks. Nonbinary folks. Indigenous folks. Latinos and latinas. Asians. Immigrants. And on and on. This is in addition to those folks who are suffering through the incalculable tragedies of climate change-driven disaster and other calamities.
If you dig their work or you dig a specific cause, and you’re able to support financially, please give to their Patreon, their GoFundMe, OnlyFans or whatever they’re using for donations and tips. Trust me, every single dollar counts, is useful and appreciated. You’ll feel good supporting the blood, sweat and tears of decent, hardworking folks who could really use it, while teaching greedy, craven and spineless assholes some key lessons. A win in my books.
I understand that things are tough for folks. A lot of people are struggling to survive with their dignity intact. If you’re unable to give money, the other way you can support is to amplify these voices. Tell your friends about these artists, influencers, thinkers and causes, and get them to follow them, too. Extra eyeballs to the work really matters — sometimes, it’s someone else who could support through cash. Other times, it’s someone who will faithfully read or follow that person’s work. Or they’ll happily proselytize your causes and your work to others.
All work — including creative work — is impossible without money. After all, time is money. Effort is money. Then add all the expenses it takes to actually work. So, if you’ve been frequenting this site over the past handful of years, there are a handful of folks I want to thank once again for their support. Without them, I wouldn’t have been able to keep this going.
Sash
Alice Northover
Bella Fox
Jenny MacRostie
Janene Otten
So if you’re able and willing, please feel free to check out the Patreon page: https://www.patreon.com/TheJoyofViolentMovement.
Additionally, 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.
Of course, there are other ways you can support.
You can also support by checking the JOVM shop. I sell prints in various sizes. I also have bumper stickers. Check it out: https://www.joyofviolentmovement.com/shop
You can also support my following me on the following platforms:
Instagram: https://www.instagram.com/william_ruben_helms
Twitter: https://www.twitter.com/yankee32879 and https://www.twitter.com/joyofviolent
Facebook: https://www.facebook.com/TheJoyofViolentMovement
And you can hire me for headshots, portraits and events. Seriously, I’m available for that, too. You can click here: https://www.photobooker.com/photographer/ny/new-york/william-h?duration=1?duration=1# or you can contact me directly.
Lastly, I’m an Eargasm Earplugs Earinflunecer. Buy a pair, protect your hearing and save 10% by clicking on this code: https://lnkd.in/ewX8ezKZ. I do get a percentage of each sale from that discount code.
New Audio: Black Cashmere Shares Woozy “In My Head”
Emerging, Venice, CA-based indie duo Black Cashmere — Devon Sellers and Harry Weil — will be releasing their debut EP, In My Head in July. Recorded at Dream House Studios, the six-song EP introduces their remarkably close creative partnership while exploring their love of retro sounds, soulful house and jazz-tinged cadences.
The EP’s first single, EP title track “In My Head” features Sellers’ sultry, jazz-tinged cadence with a woozy production and arrangement, which sounds a bit like a synthesis of psych pop, neo-soul and trip-hop — in a way that reminds me a bit of JOVM mainstays The Lovelines. The song’s narrator describing swooning and yearning for a love interest, while still recognizing that they’re still stuck in their head.
New Audio: 17 Year-Old Nevi Outlyr Shares Deceptively Breezy “Stuck”
17 year-old, emerging artist Nevi Outlyr started rapping in church when he turned 15. Originally, he didn’t take either seriously. But that changed after he started college and a particularly difficult breakup. “I was hitting open mics everywhere, partly trying to get her attention, mostly trying to prove to myself I was worth listening to,” the young artist explains.
As for his name, there’s a story behind that: “I ask my mom to give me an artist name. She says, ‘Inevitable.’ Long, but it felt like,” he recalls. “After a few versions, I landed on Nevi. That Outlyr part came from, believe it or not, a math class. I learned about how one number way off from the rest can shift the whole average, an ‘outlier.'” He says, “It stuck. Never thought I’d relate to numbers, but somehow that felt like me.”
Gradually for the young artist, his efforts became less about being heard and more about being honest. “Every track I make is just me trying to make sense of whatever’s going on in m head,” he says, “Anxiety, joy, the awkwardness of being all — it’s al in there.” He goes on to describe his sound as “ambivalent, experimental hip-hop with a hint of toxic positivity. Think ‘Hey Ya,’ by OutKast for reference. People tell me that I give Chance the Rapper, Andre 3000, Smino, sometimes even Mac Miller, depending on the track.”
“But most of the time,” he adds, “I feel like a character stuck in an episode of Seinfeld. At the end of the day I make music for people like me, the overthinkers, the soft-spoken loud minds, people trying to laugh through the heavy stuff. My songs might not save the world, but they might make you feel like you’re not alone in it.”
His latest single “Stuck” is a deceptively upbeat and breezy track that features the young artist’s remarkably Andre 3000-meets-Mac Miller-meets-Chance the Rapper-like flow darting around carnival ride in hell-inspired production featuring an eerily twinkling synth melody, a breakneck and propulsive synth bass line and a lysergic break and guitar solo. But underneath upbeat and breezy vibes, the song describes a familiar sensation for anyone who’s a go-getter — the feeling that you’re somehow stuck in place while everyone else around you is racing past you.
Honestly, even in my 40s I’ve felt this! And I’d bet that many of you readers have felt the same at various times, including now. But with age, there’s occasional moments of wisdom that reminds you that it’s usually just perception, ego and your stupid brain.
Live Footage: The Color of Cyan Performs “Hail the Mountains” at Chicago’s Electrical Audio
Chicago-based post rock/post-metal outfit The Color of Cyan — Henry Cole (drums), Jorge Santana (bass) and Eduardo Cintron (guitar) — originally formed in San Juan, Puerto Rico back in 2000. The band re-emerged during the height of the pandemic as a solely instrumental project that created intricate soundscapes with aggressive guitar.
2021’s Agape featured multi-layered material that patiently built up in pressure and impact.
2023’s Egress, which was recorded between Puerto Rico, Chicago and Mexico City saw the band blurring the boundaries of a sound that featured elements of post metal, post rock and neo-classical while exploring emotion through introspective and delicate compositions. “Our music arrangements are purposely in constant motion, guided by emotions, impossible to replicate perfectly, like waves in the sea. Nothing is ever the same as before,” the Chicago-based outfit explained in press notes.
The Color of Cyan’s forthcoming third album As Human reportedly sees the band expanding upon their sound further with organic and abstract compositions that are central to the album’s identity. According to the band, “the album feels like a film without words — an exploration of what it means to be fragile, to endure, and to feel deeply.”
As Human’s first single “Hail the Mountains” is a cinematic and shoegazer-like composition featuring swelling, swirling and towering feedback-drenched guitars paired with shimmering strings that manages to evoke wind-swept, mountainous vistas while sonically recalling Collapse Under the Empire and You Doo Right. “This song is a towering ode to resilience. With swelling orchestration and tremolo-driven peaks, it captures the sublime tension between permanence and solitude, grandeur and stillness,” The Color of Cyan explains. “It’s a soundscape carved into stone, echoing long after the final note fades into an acoustic denouement.”
The band recorded a live session at Chicago‘s Electrical Audio, which features the band and an orchestra performing the song.
New Audio: Develour Shares Lush and Breezy “Celle qui”
Mysterious and mischievous French artist Develour emerged into the Francophone indie pop scene with the release of “La Part des Agnes,” a song 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.
The emerging French artist forthcoming sophomore EP will feature the previously released “Dealer d’Amour,” a dreamy and lush song that prominently features Developer’s yearning, achingly plaintive cooing, and the EP’s latest single “Celle qui.”
“Celle qui” continues a run of lush and breezy, hook-driven tunes, featuring glistening synth arpeggios, a supple and funky bass line serving as a lush bed for the French artist’s yearning delivery. While breakneck and infectious, thematically, the new single, as Develour explains focuses on the fantasies and stories we tell ourselves while deeply fascinated with a potential love interest. He goes on to say that the song sonically and structurally plays on the contrasts between the longing and self-doubt in the pursuit of a desired one.
New Video: Smut Shares Expansive and Anthemic “Waste Me”
After spending years in the Cincinnati DIY scene, Smut — currently Tay Roebuck (vocals), Andie Min (guitar), John Steiner (bass), Sam Ruschman (guitar) and Aidan O’Connor (drums) — caught the attention of Bayonet Records, who signed the band and released their sophomore album, 2022’s critically applauded How the Light Felt. The album brought the band to Chicago, a city with more room for their growing sound.
But despite their early successes, they still faced the struggles of the modern working musician: instability, financial precarity, objectification and more. The band channeled a period of touring, personnel changes and personal upheavals into their third album, Tomorrow Comes Crashing.
Officially dropping today, through Bayonet Records, Tomorrow Comes Crashing marks the band’s first recorded output with O’Connor and Steiner while seeing the band re-energized and trained on the limitless potential that comes with making music with people you love.
The band specifically focused on capturing the big emotions that come with falling in love with music for the first time. The result is ten of what may arguably be their most intense, bombastic and focused songs to date.
The Chicago-based band recorded the album’s material “as live as they could,” alongside Momma‘s Aron Kobayashi Ritch in a Red Hook, Brooklyn-based studio over the course of a breakneck 10-day session. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side.
“We have so much energy right now,” Smut’s Roebuck says. The recording sessions were a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends’ couches and floors, Roebuck completely blowing her voice by the end. Fittingly, the album is culmination of the band’s long-held DIY spirit — with the band creating a record that encompasses the intensity, moodiness and emotions of their journey so far.
In the lead-up to the album’s release, I wrote about two of the album’s previously released singles:
- “Syd Sweeney,” a song inspired by and named after the actor that describes the profound strangeness to be a woman, and how easily as a woman it is to be constantly misunderstood and misconstrued.
- “Touch & Go,” a full-throated, 120 Minutes MTV-era power ballad that showcases the band’s knack for pairing rousingly anthemic hooks with, big riffs and earnest, lived-in lyricism and songwriting.
Tomorrow Comes Crashing‘s latest single “Waste Me” continues a run of hooky and anthemic material that recalls 120 Minutes-era MTV alt rock — but under the big power chords and arena rock swagger is a softness that’s feminine but also thoughtful, lived-in and deeply earnest while arguably being the most dynamic, expansive and The Cure-like song they’ve written and recorded to date.
“Waste Me” is inspired by Greek mythology. “I wanted to write about ego, about building people up in our minds to unreachable heights, and pride,” Smut’s Roebuck explains,. “The story of Icarus was really ripe to elaborate on so I just extended the story. What if Icarus lived? What if someone thought he was the answer to their prayers?”
The accompanying video by Michael Fanos features collage-styled animation loosely based on the song’s lyrics.
Throwback: R.I.P. Walter Scott
JOVM’s William Ruben Helms celebrates the life and music of The Whispers co-founder Walter Scott.