News/Announcements: JOVM Could Use Your Help/Shoutouts to Patreon Patrons, Creatives Rebuild New York and Asian Arts Initiative

I’m going to be unflinchingly honest here. A few months ago, I thought I had landed a dream job: I was going to be working for a well-regarded label and distributor, doing work closely related to my work here with JOVM. We’re talking about great benefits. Generous vacation time. And the sort of payday that would make my life and existence much more comfortable.

Me and my dearest ones were absolutely thrilled beyond measure. Finally, a lot of hard work and sacrifice has paid off! Unfortunately, it all turned out to be a horrible scam. 46 has been awesome, y’all. Sigh.

Because of this scam, my bank account is currently overdrawn. On top of that, I haven’t been able to get regular work in almost a year. Trying to get full-time work is more difficult than ever: ATS. Ghost jobs. 10,000 people applying to the same position as you within a few hours of a listing posting on a job site. Add the networking that sometimes gets nowhere. I’ve managed to get a handful of interviews, but lately, it hasn’t gone beyond the first or second round.

My landlord is threatening to evict me and my mother. I’m having difficulties continuing this site, too. Although, I’ve been able to get by here and there with a little help from my friends, as the song says, I’m financially tapped out. So I’m asking y’all for your help. If you’ve got leads for full-time, part-time, project temporary, contact or project-based editorial, writing and/or photography work, please feel free to reach out.

If you can regularly support JOVM through Patreon or through a one time donation, I will be grateful. Any and all amounts are appreciated. Seriously.

Now, as you know, JOVM turns 15 next month. Yes, 15 y’al! When I started this site, I honestly felt and believed that I really had no choice but to go out on my own. From my own experience, I didn’t believe that I’d get a fair shot to do what I’ve wanted to do on this site with another outlet.

I’ve long felt a desire to create something inspired and informed by the wildly eclectic, dynamic, global sort of environment I grew up immersed in as a Black boy from Corona, Queens. I didn’t regularly see the environment and music I heard around me represented in the music magazines and sites that I followed and loved to read. I always felt that was odd and a significant weakness because — well, there’s quite a bit of amazing music out there that’s just not getting the love and attention it should be receiving whether nationally or internationally. 

With this site, I’ve managed to carve out a unique path for myself — and in the blogosphere. 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. 

I’m going to be frank here: With this current administration, things are going to be extremely difficult for marginalized communities, for artists and the arts, for small, independent media outlets, small businesses and for countless others. We’re already seeing large corporations and media outlets bending the knee to fascists out of greed and fear. 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. 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. 

To that end, with your support, I can keep this going. Now, as you know, I’ve said this many times: 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:  

Sash

Alice Northover

Bella Fox

Jenny MacRostie

Janene Otten 

All of those folks have been generous Patreon patrons. Every and any amount really helps keeps this sort of journalism and criticism alive and ongoing. 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.

One-time donations are also appreciated.

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New Video: 802 Shares Glittering and Rousingly Anthemic “H.I.T.S.”

At one point, Andreas “Slowoff” Asingh was considered one of the most critically acclaimed electronic artists in Denmark, working with internationally renowned artists like Raekwon while touring the world.

Eventually, life’s twist and turns took Asingh back to his roots, the Danish countryside of Mols Bjerge. Back in 2022, Asingh met Emil Sørensen and Kristian Holbæk, two young dudes making names for themselves in the country’s underground metal scene. When the trio started 802, they weren’t an obvious musical match; but they bonded over their desire to create a unique sound that meshes elements of classic heavy metal, hazy shoegazer texture and ghostly synth pop with unashamedly catchy melodies. According to the band, the 802 world is ruled by musical anarchy and is a place for headbangers and pop lovers to unite. 

The trio’s first ever live show was at 2023’s New Colossus Festival New Colossus Festival, which I actually managed to catch. And since then the Danish outfit has released a small handful of singles that have received attention across Denmark and globally: Their first two, “My Girl” and “22 (Velvet Vampire)” were featured in award-winning horror shorts.

Their third single, last year’s “1986,” saw the Danish trio firmly cementing their sound: Dense layers of crunchy metal riffage and thunderous drumming that brings Kill ‘Em AllRide the Lightning and Master of Puppets-era Metallica to mind paired with twinkling and atmospheric synths that may remind shoegazers of Chicago‘s LightfoilsBLACKSTONE RNGRSHong Kong‘s Lucid Express and Montréal‘s Bodywash and some rousingly anthemic, shout-along worthy hooks and choruses.

The trio then took their hook-driven synthesis of metal, shoegaze and pop to some of Scandinavia’s biggest festivals, including Copenhell and Roskilde. Adding to a big year, the trio received New Artist of the Year and New Live Artist of the Year nominations at the Den Hårde Tone, Denmark’s metal awards, winning a New Artist of the Year award.

Building upon the growing buzz surrounding the Danish metal outfit, they closed out 2024 with “Princess,” which saw the band pairing Metallica-like chug with glittering synth arpeggios and rousingly anthemic hooks and choruses in what may arguably be their most dance floor friendly song to date.

“H.I.T.S.,” the Danish trio’s fifth single sees the band pairing Metallica and Def Leppard-like power chord bombast with woozily futuristic synths, their uncannily unerring knack for rousingly anthemic hooks and choruses and dreamily yearning melodies. While furthering the sound that has garnered international attention, the Danish trio have managed to consistently craft material that hits hard and is remarkably accessible.

“Even though the world is fucked, you can still believe in the good. Believe that there is a hole in the sky somewhere, where light and good karma are just waiting to pour out and defeat the evil,” 802’s Andreas Asingh says. “802 is a mixture of the dark and the light – the outsider who wants to be part of the community. It’s a constant dynamic that we celebrate in ‘H.I.T.S.'”

Directed by Casper Balslev, the accompanying video for “H.I.T.S.” cements the song’s overarching theme, with a visual battle of good versus evil centered around a kidnapper and torturer and an abused victim, a car and rope. In the end, karma wins out.

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.

New Video: CIVIC Shares Jangling and Nihilistic “The Fool”

Since their formation back in 2017, Melbourne-based punks CIVIC — Jim McCullough (vocals), Roland Hlvaka (bass), Lewis Hodgson (guitar) and their newest member Eli Sthapit (drums) — have developed a reputation for reimagining the reckless intensity of proto-punk for our era of seemingly unending and unceasing uncertainty and strife. 

The acclaimed Aussie outfit’s forthcoming third album, the Kirin J. Callinan-produced Chrome Dipped saw its official release today through ATO Records. Eager to step beyond the raw, unmistakably Australian punk rock sound of their first two albums, Chrome Dipped sees the band pushing into uncharted sonic terrain without scarfing the long-held fierce energy that has defined them. 

Thematically, the album touches upon loss and grief, following the death of Jim McCullough’s mother, as well as broader essentially reflection. In a larger sense, Chrome Dipped is about casting off old shells — both musically and emotionally — and finding meaning in the messiness of human life and evolution.

The band tapped Aussie singer/songwriter and multi-instrumentalist Kirin J. Callinan to produce Chrome Dipped. It was his idea to spend a week recording at Hobart, Tasmania‘s Museum of Old and New Art (MONA), a far cry from the outback house in which the band laid down 2023’s Taken By Force. “We’ve always done our records DIY,” CIVIC’s Jim McCullough says. “This time we wanted to step up and make it sound as big as we could.”

“We kind of stuck to the rules a little bit earlier on like, do Australian punk rock properly and all that,” CIVIC’s Lewis Hodgson says. “But after touring around the world and seeing what all these other bands are up to it’s like, you can really do whatever the fuck you want. And so it’s fun to just kind of let go.”  He continues, “I hope people feel a little confused at first. Then a bit angry, and then feel good, and then interested, and then they feel like, ‘Oh, this is sick.’ That process exactly. I hope it’s a bit challenging.”

CIVIC also brought on a filmmaker to capture behind-the-scenes and in-studio footage, with plans for a longer documentary in the works. The film explores the physical and emotional place that inspired Chrome Dipped,  following the band through their journey of making the album. 

Last month, I wrote about album single “The Hogg,” a song named for its “disgusting sounding riff.” Fittingly, the song is a bruising ripper, anchored around a grimy, chugging riff and thunderous drumming paired with McCullough’s punchy delivery. While continuing to channel the grime, filth and fury of their previous work, “The Hogg” showcases a band pairing delicate and dreamy lyrical imagery with sinister, deeply unpleasant overtones and a subtle yet slick, studio polish.

As the band explained to Flood Magazine, the song is about “staring into the abyss and seeing nothing but its pure beauty. Surface level pleasure with sinister undertones. A porcelain dancer draped in flesh, pirouetting to the infinite beat. ‘The Hogg’ is my reality. ‘The Hogg’ is my destiny.” 

“The Fool,” Chrome Dipped‘s final pre-release single is a jangling and metallic, cretinous stomp of song that showcases the band’s melodic sensibility while retaining the punchy and feisty punk quality they’ve been known for. The Aussie quartet say “‘The Fool’ is a nihilistic death march about dreamers and idiots. A jangley [sic] punk song meant to provoke the senses. It recalls the story of the fool and what’s behind the 1000-yard stare.

Directed by Conor Mercury, the accompanying video for “The Fool” is a lush yet brooding and cinematically shot visual that’s set in a world that’s both harsh yet surreal, as we see struggling and desperate folks with odd, somewhat unnecessary super powers.

CIVIC is currently in the middle of a North American tour that includes a June 13, 2025 stop at TV Eye before heading to the UK and European Union. Check out the rest of the tour dates below. Tickets are available here