News/Announcements by William Ruben Helms

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. 

 

JOVM recently celebrated its 15th anniversary. Yeah, 15 y’all.

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  (Er, this is down right now. Sigh.)

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.

Single Review by William Ruben Helms

New Audio: Glimmer Shares Rousingly Anthemic “Dissolve”

Over the past couple of years, New York-based grungegaze outfit Glimmer — Jeff Moore (vocals, guitar), Jaye Moore (drums), Johnny Nicholls (guitar) and Kevin Dobbins (bass) — have released a handful of well-received singles have seen the quartet firmly establishing a sound that mixes elements of shoegaze, grunge and dream pop in a way that’s both nostalgia inducing and yet contemporary.

Building upon a growing profile, the band’s highly-anticipated full-length debut, Get Weak is slated for an October 3, 2025 vinyl release through Philadelphia-based label, Abandon Everything. Recorded with Jeff Berner at Brooklyn-based Studio G and mastered by Will Yip, Get Weak reportedly sees the band pairing their more pop-leaning singles with heavy-hitting alt-rock anthems and softer, more ethereal material.

The album’s latest single “Dissolve” continues a remarkable run of material anchored around rousingly anthemic, The Colour and The Shape-era Foo Fighters-like hooks, reverb-soaked guitars and a dreamy coda. At its core, the song evokes a dreamy and aching nostalgia for past summers — for times and things that are gone and can’t be had again.

After returning from a European tour, the members of Glimmer will be embarking on a short run of Stateside tour dates. You can check out the tour dates below.

singer/songwriters by William Ruben Helms

Throwback: Happy 89th Birthday, Buddy Guy!

JOVM’s William Ruben Helms celebrates Buddy Guy’s 89th birthday.

Video by William Ruben Helms

Throwback: Happy 80th Birthday, David Sanborn!

JOVM’s William Ruben Helms celebrates the 80th anniversary of David Sanborn’s birth.

Video by William Ruben Helms

Throwback: Happy Belated 52nd Birthday, Wanya Morris!

JOVM’s William Ruben Helms belatedly celebrates Wanya Morris’ 52nd birthday.

Video by William Ruben Helms

New Video: Dutch Mustard Shares Breakneck and Escapist “Life”

Dutch-born, London-based artist Sarah-Jayne “SJ” Riedel is the creative mastermind behind the rising indie recording project Dutch Mustard. With Dutch Mustard, Riedel blends ethereal dream pop, 90s alt-rock with shoegaze touches to create a soundscape that features painterly and swirling guitar textures while the Dutch-born artist’s vocals drift between a near whisper and yearning, heavenly arching shouts. 

Riedel and Dutch Mustard exploded into the British scene with the release of 2022’s debut EP An Interpretation of Depersonalisation, an effort that was featured by the BBC while receiving airplay on BBC Radio 1’s Future Artists with Jack Saunders and a co-sign from the legendary Iggy Pop.

2023’s sophomore EP,  Beauty received airplay from BBC Radio 6’s Lauren Laverne and co-signs from Don Letts and Amy Lamé. Adding to a growing profile, The Independent, The Line of Best Fit, Clash, Dork and Notion have all covered her — and The Grammy Awards selected her a one of 6 Female Fronted Acts Reviving Rock, along with Wet Leg. 

Since then, the Dutch-born, London-based artist has been busy: She has released a couple of singles — two of which I’ve written about here: “Loser” and “Dreaming,” which was released earlier this year. She followed that up with her Stateside debut at The New Colossus Festival earlier this year. Building upon a growing international profile, Riedel’s latest single, the Dean James Barrett, Craigie Dodds and Riedel co-written “Life” is a breakneck, Brit Pop meets industrial punk-like track anchored around taut, skittering beats and buzzing power chord-driven riffs that continues a run of material that showcases her unerring knack for crafting catchy, rousingly anthemic hooks. While being one of the punchiest songs of her growing catalog, “Life,” as she says “is the soundtrack to that heartbreak you should’ve seen coming, when everything gets so chaotic and absurd, all you want to do is tap out for a minute.”

Directed by Josiah Newbolt, the accompanying video is split between gritty black and white shot footage of Riedel and her backing band out in the streets, as we follow her to a studio for a carefully choreographed dance routine. The result is an urgent and vivid fever dream.

Video by William Ruben Helms

New Video: Public Circuit Shares Twinkling and Percussive “To The Grave”

Although they formed back in 2023, rising New York-based electronic music trio Public Circuit — Ethan Beaumont (vocals), Sean Holloway (drums) and Nelson Fisher (electronics) — exploded into the scene with last year’s full-length debut, Lamb, which they supported with sold-out shows across 30 states, including a run of the domestic festival circuit with sets at New Colossus Festival, Hopscotch and MACROCK. Building upon a growing profile, the trio’s highly anticipated sophomore album Modern Church is slated for a September 12, 2025 release through à La Carte Records.

Modern Church reportedly sees the New York-based trio dismantling and reassembling post-punk with surgical precision. The pretense of retro revivalism is swapped out for something much sharper, darker — and entirely their own. Sonically rooted in the trio’s newfound sense of collaboration between each other, the album’s material features angular electronic instrumentation and raw percussive rhythms bathed with the high gloss ache of sophsitipop.

Thematically, the material is overtly religious. But it’s used as an analogically tool to explore sexual identity, the fleeting faith of society and the illicit repercussions of unresolved trauma. And much like its immediate predecessor, the new album continues a run of material deeply influenced by New York’s constant feed of noise and relentless energy.

Modern Church‘s second and latest single “To The Grave” sees the rising New York trio pairing twinkling synths with relentlessly driving rhythmic pulse in a way that reminds me a bit of Information Society’s “What’s On Your Mind (Pure Energy)” and Violator-era Depeche Mode while rooted in a deeply neurotic and unresolved tension — and a deep seated fear to live in one’s truth.

“Life is frail – Many people live a life where they never fully resolve trauma, hatred, etc., and, therefore, take it to the grave with them,” the members of Public Circuit explain. “Whether it be childhood trauma, gender expression / exploration, or failed romances; this song is inspired by moments left unresolved or, otherwise, unspoken.”

Shot on grainy VHS by Nara Avakian and edited by the band’s Ethan Biamont, the accompanying video for “To The Grave” follows the members of the band as they dig a grave and then bury a body in the woods — a secret that has to be kept until death.

Single Review by William Ruben Helms

New Audio: Cochemea Shares Soulful and Timeless “Omeyocan”

Acclaimed multi-instrumentalist, arranger and composer Cochemea Gastelum comes from a long line on musicians on both sides of his lineage. Over the past 25 years, Gasteum has built a distinct and accomplished career as a soloist and arranger/composer, collaborating with an eclectic array of artists across a wide range of genres — from his lengthy stint with Sharon Jones and the Dap Kings to the likes of Kevin Morby, Run The Jewels, Jon Batiste, Amy Winehouse, The Roots, Archie Shepp, Mark Ronson, the legendary Quincy Jones and a lengthy list of others. 

His previously released material has received praised from both critics and DJs. 2019’s All My Relations, the acclaimed multi-instrumentalist, arranger and composer’s critically applauded Daptone Records debut was a family reunion of sorts, uniting spirits, musicians and melodies across space and time. Leading a nonet, Gastelum and company employed drums, winds and vocals to create a deeply personal meditation on the interconnectedness of all things. Vol. 2: Baca Sewa expanded this exploration into the archives of family history, mythology and the cultural imagination. 

Slated for a September 26, 2025 release through Daptone Records, Gastelum’s forthcoming effort, Vol. 3: Ancestros Futuros completes a triology while anchored in the cultural fabric that has nurtured him from the beginning. A Californian of Yaqui ancestry, Gastelum describes a central part of his work as “accessing ancestral memory that comes in different forms — sometimes when you visit a place, sometimes in dreams . . . it’s in our DNA.”

“For me it’s about seeking wholeness in these zones of fracture.” In fact, dreams play a vital role in his creative process., “A lot of melodies come to me through dreams,” he says. “I’ve kept a dream record for years, shaping the language into what I call dream scores.” One of these scores appears on the back over of Ancestros Futuros, reflecting the intuitive and layered nature of his work. This dream-guided approach carries into the album’s opening track, “Transmisíon del Soñar,” which serves as a “portal” between dimensions, echoing his connection with both the dream realm and the dynamic interplay of time and space.

His musical and spiritual synthesis is made possible through his deep reverence for the horn, and the music and traditions that precede him. Inspired by Eddie Harris, Yusef Lateef, Jim Pepper and Gary Bartz, Gastelum attempts to bride ancestral rhythmic traditions with forward-looking vision, to create a signature sound that’s both deeply rooted and expansive. With the new album, Gastelum continues to expand upon his work, effortlessly blending past, present and future into a ritual offering, in which memory, survival and imagination converge. The album’s material is also shaped by stories of survival and resistance. 

The acclaimed multi-instrumentalist, arranger and producer gathered a core group of longtime collaborators, an octet featuring some of New York’s best percussionists and members of Daptone’s world famous rhythm section. Additionally, the album sees Gastelum collaborating with Daptone Records founder Gabriel Roth, a.k.a. Bosco Mann returning as producer and mixing engineer, recording the band live to 8-track analog tape. 

Ancestros Futuros will feature the previously released album title track “Ancestros Futuros” and the album’s second and latest single “Omeyocan,” a soulful composition that seamlessly blends Miles Davis and early John Coltrane modal jazz-like melody with tribal drumming and group singing and chanting, which gives the track a a timeless, almost ancient air. You can almost envision being at a bonfire for an ancient ceremony to celebrate and please the gods.

“Omeyocan means ‘Place of Duality’ in Nahuatl. In Aztec cosmology, it’s considered the highest of the heavens—a place outside the temporal world where life and essence originate,” Gastelum explains. “Connected to dreams, birth, and the convergence of opposites, it’s linked to emergence and balance. The track mirrors this idea of duality and becoming, starting with a long, winding instrumental melody before shifting into heavy drums and group singing—moving from something inward to something collective.”

Video by William Ruben Helms

Throwback: Happy 72nd Birthday, Geddy Lee!

JOVM’s William Ruben Helms celebrates Rush frontman Geddy Lee’s 72nd birthday.

Single Review by William Ruben Helms

New Audio: Big Wild Teams Up with Phantogram on Slinky, Dance Floor Friendly “Too Loud”

Jackson Stell is a rising producer and artist, who initially started his career in his native Massachusetts as hip-hop producer, known as J Beatz. Following a life-altering trip to Big Sur, Stell switched creative lanes, adopting influences from the area’s natural beauty and open spaces. As Big Wild, the Massachusetts-based artist refines alt/indie electronic music by blending organic elements, lush soundscapes with bold, genre-defying creativity and panache. 

Stell’s breakthrough was back in 2015 when he toured with acclaimed electronic outfit Odesza and remixed “Say My Name.” That year also saw the release of “Aftergold,” feat. Tove Stryke, which stopped the Spotify Global Viral charts. 

Building upon a rapidly growing profile, Stell followed up with 2017’s Invincible EP and his full-length debut, 2019’s Superdream, which saw the Massachusetts-born artist taking on the roles of singer/songwriter for the first time, while blending indie, electronic and disco influences. Stell supported Superdream with extensive touring across the US, European Union and UK while helping to establish his reputation as an innovative and boundary-pushing artist. 

His sophomore Big Wild album, 2022’s The Efferusphere saw Stell continuing to explore and push the boundaries of genre and emotion. 

The past few months have been busy for Stell: Earlier this year, he released -the first bit of new material since The Efferusphere — “Love Any Longer,” “You Belong Here,” and “The Universe” feat. feat. iDA HAWK,  a sprawling dance music track that mischievously nods at James Bond-thriller-like soundtracks, cinematic psych soul and British Big Beat fueled by an infectious optimism. All three of those previously released songs will appear on Stell’s highly-anticipated sophomore album, Wild Child. Slated for an August 29, 2025 release through Giant Music, Wild Child is reportedly one of Stell’s most dynamic and personal albums to date. After The Efferusphere, Stell found himself craving the curiosity and joy that initially drew him to music.

That search let him to reconnect with his inner a child — a creative alter ego that he has dubbed Wild Child. The album’s material reportedly sees Stell creating a richer sonic palette that draws from and meshes elements of indie pop, psych rock and ’60s music. And throughout the album, Stell embraces the kind of playful and mischievous unpredictability informed from creating without constraints.

Primarily written and produced by Stell alongside a close-knit cast of talented collaborators, Wild Child‘s material explores themes of renewal, resilience and connection to the Earth that simultaneously echo throughout the lyrics and sonic textures while striking a balance between childlike wonder and the hard-fought wisdom of maturity. “Wild Child runs throughout the album and is fighting to stay alive and thriving despite the things the world throws at us,” Stell says. “The album’s about exploring that side of ourselves that we don’t explore much as we age. I think we’re often pushed to repress that part of ourselves when we get older, because it’s deemed silly or irresponsible, but I’ve realized that maturity is about balancing both aspects of ourselves.” 

Wild Child‘s latest single “Too Loud” feat. Phantogram is a slinky, dance floor friendly bop that showcases Stell’s unerring knack for crafting incredibly catchy hooks. Anchored around the same playful and upbeat sensibility of its immediate predecessors, “Too Loud” feat. Phantogram may arguably be the most 80s sounding track of the album to date, managing to channel Rockwell’s “Somebody’s Watching Me,” and the like.

“I first made the demo while I was making The Efferusphere. I can’t really pinpoint inspiration besides following what excites me,” Stell says. ” I try to trust that feeling and not overthink it. As simple as the demo sounded, there was something that consistently grabbed me when I listened back. It was sexy and ethereal. I was hung up on the second verse and the lyrics until I was connected with Sarah from Phantogram. Her voice was perfect and was the last big piece to the puzzle. She smashed it and my team and I were so stoked to work with her. I remember the head of the label, Nate Albert, telling me the song needed to be finished in a week to make it to vinyl. It’s such a cliche when finishing an album, but this truly was one of those songs submitted in the final hour in a mad hellish dash.” 

Stell continues, “Sarah’s voice was meant for this track, she really occupied the imaginary space of the track,Her tone and attitude was the perfect compliment [sic] to the production. Sexy and ethereal. I’m really excited for the day when we can play this one together on stage.”

“This song makes me want to roll the windows down and turn the volume all the way up,” Phantogram’s Sarah Berthel says. “Working with Jackson has been such a blast and we can’t wait to dance with you to this soon.”

Single Review by William Ruben Helms

New Audio: Shawn Lee and Kelly Finnigan Team Up on a Breezy and Soulful “Say It Again”

Acclaimed singer/songwriter, musician, producer and Monophonics frontman Kelly Finnigan recently teamed up with acclaimed Wichita-born, London-based producer, composer, multi-instrumentalist and Young Gun Silver Fox co-founder Shawn Lee on “Say It Again,” a breezy and soulful tune that seemingly channels 1970s Isley Brothers — in particular, think of “Summer Breeze Pts. 1 & 2,” “That Lady,” and the like.

“There has always been a mutual admiration society between myself & Kelly. Over the years I’ve had the pleasure of playing on both the Monophonics & Kelly’s solo records in the studio and live onstage,” Shawn Lee says. “This is the first I’ve had Kelly on something that I’ve put together. Good things come to those who wait…and here it is!”

Colemine Records officially released the track on all DSPs today. Be on the lookout for 7″ 45RPM vinyl on September 19, 2025.

Photography by William Ruben Helms
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Live Concert Photography: Capital One City Parks Foundation SummerStage at Flushing Meadows-Corona Park 7/25/25: The Roots with DJ Scratch

Live concert photography of The Roots with DJ Scratch at SummerStage Flushing Meadows-Corona Park.