Tag: women who kick ass

Single Review by William Ruben Helms

New Audio: Twin Temple Shares Swooning and Lush “Doomed Lovers”

Formed back in 2017, Twin Temple — married couple Alexandra and Zachary James — are an acclaimed Los Angeles-based duo, who specialize in a new sub-genre and style that they’ve dubbed “Satanic Doo Wop,” which blends their practice of Satanism with a sound that’s influenced by The Platters, Roy Orbison, Buddy Holly and the like.

The Los Angeles-based duo have developed for being one of the contemporary scene’s most talked about crossover acts, earning widespread coverage from media outlets like Rolling Stone, NME, Billboard, American Songwriter, Stereogum, Consequence, Revolver, Kerrang!, Metal Hammer, Loudwire, San Francisco Chronicle, Los Angeles Times and a long list of others, and for being one of the most provocative acts out there right now. Their uncompromising artistic vision routinely sparks much larger and more serious conversations about artistic freedom, religious freedom, freedom of expression, censorship, the role of controversy in art, and on a broader sense, the wider role art plays within the cultural landscape.

Some of y’all, will know of the duo after Charley Crockett abruptly dropped the band from his shows this past week — specifically for their usage of Satanic imagery. This lead to Jack White publicly inviting the band to open for him in Hollywood in September. Serendipitously, the duo’s third album, Doomed Lovers is coming red hot off the heels of their latest controversy.

Slated for an October 9, 2026 release through their own Pentagrammation Records, the Shooter Jennings-produced Doomed Lovers was recorded at Hollywood-based Sunset Sound‘s iconic Studio 3 and marks the acclaimed duo’s boldest chapter to date. The album continues the band’s commitment to analog recording while expanding upon their sound with lush orchestral arrangements performed by a 37-member orchestra. Yes, 37!

Born from one of the darkest periods of their personal lives, Doomed Lovers is reportedly their most intimate and emotionally revealing work to date. Expanding upon the cinematic scope of the sound that has won them acclaim while remaining rooted in the timeless sound and traditions of early rock ‘n’ roll, the album is their most ambitious and fully realized artistic statement so far.

“We poured everything into this new record that we made with Shooter,” says the acclaimed and controversial duo. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes, and The Shangri-Las, and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose, and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.”

The truth is, this album was made during one of the darkest periods of our lives. We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life. We started smiling and laughing again. I was becoming alive again. It connected us to why we fell in love with music in the first place and became our most personal album yet.”

Doomed Lovers‘ latest single, album title track “Doomed Lovers” features a lush, breathtakingly gorgeous, sculpted wall of sound-like production and arrangement beneath Alexandra James’ remarkably Patsy Cline-like croon singing confessional lyrics desiring an a consuming, all or nothing love along the lines of Edgar Allan Poe’s “The Raven” and other Romantic-era literature.

The first time I heard the song, the first three or four thoughts that entered my mind were “holy shit, that’s fucking gorgeous!,” followed by “this sounds like it could have been a B-side to Patsy Cline’s “I Fall to Pieces” and “Back in Baby’s Arms” or Roy Orbison’s “Only The Lonely” and “Crying,” followed by “I’d pay to hear Alexandra James read entries in the phone book.”

“This is the philosophical centerpiece of the album – a theatrical and confessional take on all or nothing love, the dark side of devotion and centuries old mythic literary Romantic themes,” the acclaimed duo explain. “It longs for a love so enduring and eternal that it ultimately consumes, obliterates, and drives one to madness and death. At its core, it asks the question – ‘What happens when your lover dies?’”

But what makes the song unique is that it rejects the conventional and culturally accepted answer… ‘I know I should tell you to find someone new,’ in favor of raw, unfiltered and selfish desire, things that would be shameful to speak in mundane reality.”

Single Review by William Ruben Helms

New Audio: Ghost Funk Orchestra Shares Sultry and Cinematic “Ocotillo”

JOVM mainstay outfit Ghost Funk Orchestra originally started as a one-man recording project, helmed by its creative mastermind, composer and multi-instrumentalist Seth Applebaum. Since then, the project has evolved into a full-fledged 10 member, powerhouse band that fleshes out Applebaum’s vision — a sonic kaleidoscope that defies genre specifications, but draws deeply from soul, psych rock, psych soul and more.

“Ocotillo” is Ghost Funk Orchestra’s first bit of new, original since the release of 2024’s A Trip to the Moon. Opening with shimmering and strutting Rhodes, “Ocotillo” continues an incredible run of mind-bending yet cinematic soul with the song evoking sultry and stifling heat, dusty blacktop in front of you and in the rearview, rest stops, highway signs, trees and small towns flash by in a blur of dizzying sameness before finally getting a reprieve — through rain or higher altitude or the like.

“The ocotillo is an imposing figure, tall and reminiscent of a torch. I dedicated this song to the desert dwelling plant after a particularly challenging tour that took our band through the southwest,” Ghost Funk Orchestra’s Seth Applebaum explains. “After days of unbearable heat and humidity, reaching New Mexico surprisingly gave us some reprieve. After landing at the venue in Silver City, I took a walk to clear my head and observe the scenery as the mountain climate provided a more manageable atmosphere to exist and reflect in.” 

Single Review by William Ruben Helms

New Audio: Sweeping Promises Returns with Punchy and Defiant “Accent”

Lawrence, KS-based duo and JOVM mainstays Sweeping Promises — Lira Mondal (vocals, bass, production) and Caufield Schnug (guitar, drums, production) — will be releasing their highly anticipated third album, You Say I Romanticize August 14, 2026 through Sub Pop.

Recorded over an 18-month period, You Say I Romanticize is a tribute to the chaos of creation and collaboration under shifting circumstances. Mondal and Schung found and tested themselves in their combination tour house and recording studio annually working on dozens of albums by other bands, hosting tour stops, planning shows and the like. After an immerseive process of traking adn whittling down YSIR demos and carving out an idiosyncratic chamber recording method for the album’s deliberate and international wall-of-sound appraoch, the duo brought in touring drummer Spenser Gralla to play the album’s matreial as the band would on stage. 

The album’s frenzied and passionate sound shines most in Modal’s vocal perforamnce. Where you might have heard a growl here and there on certain previously released Sweeping Promises trcks, the band’s frontwoman shouts, roars, hits tricky notes all over the place and shreds her throat throughout the album’s run time.

YSIR takes the art-by-any-means-necessary ethos that Mondal and Schung have firmly established throughout their careers and turns the prompt upside down, landing on a personality epidemic that manifests across the album’s ten songs.

The JOVM mainstays’ third album will include the previously released “Cocoon,” and its third and latest single “Accent.” Built around an angular and propulsive bass line, rapid-fire four-on-the-floor and slashing guitar attack beneath Mondal’s croon expressing seething frustration, “Accent” is a punchy and defiant tune that to my ears channels a blend of Blondie’s “One Way or Another” and Joy Division while attacking a deeply familiar sentiment for anyone who’s been a dutiful worker bee.

The band describes “Accent” as a “cacophony of routine, the plight of a lowly drone who dreams of breaking out of an instinct-born & increasingly restrictive flight path. It’s got a flapping, insectoid rhythm, which is misery to play. We call it ‘cicadence.’ It’s a succession of bee-sting realizations from an individual dangerously at risk of becoming feral, independent, an outsider.”

Single Review by William Ruben Helms

New Audio: Nouvelle Vague and Flavia Coelho Tackle Depeche Mode’s “Never Let Me Down Again”

Founded by Marc Collins and the late Olivier Libaux back in 2003, Nouvelle Vague was initially conceived as a one-off tribute to post-punk songwriting in a Bossa nova style. 2004’s self-titled debut, which saw them establish their unique fusion of melancholy post-punk, Bossa nova and French re-interpretational approach, unexpectedly achieved global acclaim. Since then, Nouveau Vague has become a global phenomenon.

Their 10th album, A Date with Depeche Mode is slated for an October 30, 2026 release through Kwaidan Records/[PIAS] Recordings. And as you can probably tell, the album sees the French outfit tackling the work of pioneering British electronic outfit Depeche Mode. The album’s second single, “Never Let Me Down Again” feat. Brazilian artist Flavia Coehlo was according to the a conscious risk, because her voice manages to carry the full light of Rio. The original version is a brooding and hypnotic tune built on an intertwined promise and threat.

Coehlo and Nouvelle Vague manage to craft a bold and unique interpretation of a beloved song that doesn’t betray the spirit and intention of the original. The summer breeze and sunshine of Nouveau Vague’s rendition is superficial; the song is underpinned by a tense, brooding unease. Goths at the beach, perhaps?

Seriously though, Nouveau Vague’s work points out the melancholy of English New Wave and Brazilian Bossa Nova are practically two sides of the same coin.

Video by William Ruben Helms

Throwback: Happy 80th Birthday, Linda Ronstadt!

JOVM’s William Ruben Helms celebrates Linda Ronstadt’s 80th birthday.

Single Review by William Ruben Helms

New Audio: Everything But The Everything Shares Yearning “Hollow Heart”

Bay Area-based indie rock outfit Everything But The Everything originally started off as a collaborative recording project founded by producer, songwriter and bassist Izzy The Gent, recently expanded into a full-fledged band with the additions of Sophia Prise (vocals), Tobias Hawkins (vocals), Andy Lund (guitar), Ian Dowed (guitar) and Cody Rhodes (drums).

While previous releases features a rotating cast of collaborators, the project’s latest singlem the Rex Shelverton-produced “Hollow Heart” marks a new chapter — a recording project becoming a full-fledged band. Sophia Price and Tobias Hawkins trade achingly yearning vocals beneath a driving bass line, dramatic drumming, and shimmering post punk-meets-New Wave atmospherics. Channeling Siouxsie and the Banshees, Echo and the Bunnymen and the like, “Hollow Heart” features a towering wall of sound-like approach that showcases the simpatico between the members of the lineup.

And at its core, “Hollow Heart” is rooted in earnest performances and even more earnest songwriting. “This feels like the natural evolution of Everything But The Everything,” says Izzy The Gent. “What started as a collaborative project has grown into a real band with a shared creative vision. Sophia and Tobias bring so much personality and emotion to the music, and this song reflects what happens when everyone contributes their voice to the process.”

Single Review by William Ruben Helms

New Audio: Deep Sea Diver Tackles Massive Attack’s “Teardrop”

Seattle-based JOVM mainstays Deep Sea Diver fourth album, last year’s Billboard Heart, which featured “Shovel,” “Let Me Go” feat. Madison Cunningham and “What Do I Know” was released to critical applause internationally. The JOVM mainstays […]

Single Review by William Ruben Helms

New Audio: Julia Jacklin Teams Up with The Maes on Introspective “I Wish”

Acclaimed Melbourne-based singer/songwriter and musician Julia Jacklin will be releasing her highly-anticipated fourth album, the Robert Muiños and Jacklin co-produced, 10-song album  The Gem through 4AD Records digitally and on CD, cassette and vinyl on September 25, 2026. Exclusive color vinyl editions with retailers will include turquoise, green opal, ruby and rose quartz. Pre-order information can be found here.

When Jacklin first moved to Melbourne from Sydney back in 2017, she discovered a little bar on a back street in Collingwood, a suburb just outside of downtown, where bands pushed dining tables to the side and set up in a corner on the floor. She didn’t know anyone in town, but knew she wanted to make the city home, so she started hanging out there, facing herself out of her comfort zone. That pub was named The Gem. 

Eight years later, Jacklin had released three acclaimed albums, 2016’s Don’t Let The Kids Win, 2019’s Crushing and 2022’s PRE PLEASURE — and was looking to write and record her fourth. Her contract with her previous label had ended. She was searching for a manager. And with time on her hands, she decided that she would make her fourth album in Melbourne, something she’d never done before. 

She called up an old drinking buddy Robert Muiños, owner of Rat Shack Studios, which is just above The Gem and brought in her friends Jacob Diamond (guitar), Mimi Gilbert (bass) and Jess Elwood (drums). Recording happened in close quarter, in converted hotel room accommodation upstairs at the pub. Because The Gem was in a residential neighborhood, they couldn’t record late into the night for fear of bothering neighbors and sound bleed was a glorious constant: foot traffic to the hairdressers and lotto parlor next door and loud music from the bands and the kitchen staff downstairs. But if anyone needed a break during the sessions, they would head downstairs and watch a local band play. Jacklin and her friends even played two unannounced shows there to try out the album’s material before recording them. 

They originally thought they’d be able to finish the album in two weeks, like she’d always done previously, but this time that wasn’t the case. In fact, it took nearly a year of tinkering to arrive at something Jacklin could get behind, “The Gem felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was doing it almost in the dark, just trusting I was going to find something,” Jacklin says. While conjuring images of excavation, of reinvention, of trusting your instincts and surrounding yourself with the people and things that make life worthwhile, the album documents the songwriter’s journey back to herself. 

“I want to love and be loved, but I also want to be free. The tension between those two things has been the central question of my life,” says Jacklin. That theme underpins the album’s material. 

The album will include the previously released “Get Away From Me (I Think I’ll Love You)” and the album’s latest single, the album closer “I Wish” feat, Aussie folk sibling duo The Maes. Channeling Crosby, Stills, and Nash, “I Wish” features Jacklin’s gorgeous and expressive vocal and the Elsie and Maggie Rigby’s impeccable harmonies beneath strummed acoustic guitar. The song is an introspective and a bit melancholy note from one’s older, wiser self to their younger self, essentially saying “girl, if you knew then what you know now . . . ” There’s quite a bit of awe, forgiveness and love for the narrator’s younger self, full of the recognition of the things she experienced and survived made her into who she is now.

Video by William Ruben Helms

Lyric Video: BESVÄRJELSEN Shares an Anthemic Power Ballad

Acclaimed Swedish metal outfit BESVÄRJELSEN — currently co-founders Andreas Bajer (guitar) and Staffan Vinrot (guitar), along with Lea Annling Alazam (vocals), and Erik Bäckwell (drums) and Marcus Lindqvist (bass) — can trace their origins back to 2014 when its founding duo started the band based on concept of channeling the spirit and tradition of the Dalarna forests into a contemporary urban context. Dalarna is at the ancient crossroads of Norse and Finnish cultures, where the echoes of runes and gods, shamans and spirits still linger. While drawing heavy inspiration from local lore, mysticism and the dark, old musical traditions of their homeland, the band derives their name from the old Swedish word for “conjuring.”

Though the band’s story has its roots in Norway’s past the present came boldly knocking. Lea Anling Alazam can trace her passion for punk and stoner rock to being a 13 year-old, hanging out at the local skate park. When Bahjer and Vernon met Alazam, they were so impressed by her vocals that they were happy tor relegate their shared vocal duties to a backing role. Alazam, who had grown up with her feet in multiple worlds added a fresh approach by embracing the melodies of the grunge and emo sounds that defined her youth, as well as African and Middle Eastern music and bluesy undertones. They released their first two self-financed and self-released EP’s 2015’s Vullfarsler and 2016’s Exit, which saw the band expand into a quartet with the addition of DOZER‘s and Greenleaf‘s Erik Bäckwell as a full-time member. Both efforts received critical praise and airplay on Swedish national radio — with minimal promotion.

They went on to release their full-length debut 2018’s Vallmo. But their sophomore album, 2022’s Atlas put them on the international metal map: The album received critical praise from the global praise while earning a Swedish Manifestgalan Award for “Metal Album of the Year.””

The Swedish metal outfit’s third album Till Glömskan Ad Oblivionem is slated for an August 28, 2026 release through Magnetic Eye Records. The album derives its title for the Swedish and Latin for “Into Oblivion” and it reportedly sees BESVÄRJELSEN maintaining a long-held punk-infused attitude, but they’ve broadened their sound with the addition of elements of blues, ska, metal, jazz and everything else around and in between, as long as it fit the mood of the song.

Till Glömskan Ad Oblivionem‘s latest single “Drifters on a Quiet Stream” is slow-burning ballad that sees the band balancing bruising, power chord-driven riffs with piano-driven introspective verses and rousingly anthemic, arena rock friendly hooks and choruses. Fittingly, Alazam’s expressive, power house vocal serves as a lifeline in stormy waters. At its core is a much-needed message of resilience — and a reminder that difficult and anxious times are usually temporary setbacks. Tomorrow you can start over.

“‘Drifters on a Quiet Stream’ had the working title ‘Elton’ as Elton John was one of the musical inspirations for this song”, the band’s Erik Båckwell reveals. “The intro and main riff was originally intended to be a part of another song. When I got our former bass player Johan to listen to the riff, he rather advised me to create a completely new song from this part. I am really glad now that I did that.”

Lea Amling Alazam adds, “This track explores the ever-present companion of the self – the voice that follows you through life, both to comfort and to critique”, the vocalist explains. “It is the quiet presence on your shoulder. When writing those lyrics, I revisited an old notebook and found a phrase I had once scribbled down: ‘…my ghost and I’. I’m not sure where I first came across this idea, but it stayed with me. It felt like a beautiful and honest way to describe living alongside your own anxiety, and I knew from the start that I wanted to build something around it.”

The lyric video visualizer employs forest imagery, further emphasizing what they’ve dubbed “forest rock” their tongue-in-cheek answer to desert rock — but this forest features some dark, unsettling flowers and plants.

Video by William Ruben Helms

Throwback: Happy 83rd Birthday, Christine McVie!

JOVM’s William Ruben Helms celebrates the 83rd anniversary of Fleetwood Mac’s Christine McVie.

Video by William Ruben Helms

New Video: Nashville’s Hannah Cole Shares Bruising, “120 Minutes”-era MTV-like “MMA”

Covington, LA-born, Nashville-based artist Hannah Cole can trace the origins of her career to her childhood: She began writing songs and singing at six, despite the fact that there wasn’t much of a music scene in her hometown. After relocating to Nashville in 2019 for school, Cole was exposed to new sounds and possibilities — and given the permission to dream big. Much like Bully and Soccer Mommy, Cole found a way to merge a taste for heavier sounds with a studied sense of songwriting craftsmanship, juxtaposing brushing, distorted guitar with a cool, honey sweetened vocals and a punchy, melodic hooks.

Cole has released two EPs, 2023’s Big Bite and 2024’s Glisten. But her highly-anticipated full-length debut, the 10-song Switchbacks is reportedly a marked step in the Covington-born, Nashville-based artist’s development while showcasing her unique blend of style and technique. Slated for a September 4, 2026 release through Tight Knit, the album was recorded by Cole and her longtime collaborator and partner Joseph Kuhn in their home studio between 2024 and 2025, playing nearly every instrument. Aided by mixer Sonny Diperri, Switchbacks features a much wider and dense sonic palette than Cole’s previous releases with the material’s massive, cathartic splashes of sound specifically constructed with the live show in mind. Sonically, the album can be described as a blend of shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia.

Thematically, the album’s material is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core. “Success is a moment that comes and goes,” Cole concludes, “but I think the joy and experience that comes with making music is something I can take with me forever.”

Switchbacks‘ lead single “MMA” features bruising wall of sound riffs and swirling shoegazer textures and thunderous drumming beneath Cole’s honeyed delivery, punchy melodic hooks and enormous choruses. Channeling Whip-Smart-era Liz Phair, L7‘s “Pretend We”re Dead,” and Siamese Dream-era Smashing Pumpkins, the song is a razor sharp take on the gamble of success, exploring the ugly side of the music industry through the image of Las Vegas: while being the so-called fight capital of the world, a rich and glamorous city with a seedy underbelly, surrounded by a void of sand.

After reading Joan Didion’s Play It As It Lays, which Didion explores the scummy underbelly of 1970s Hollywood, Cole began thinking about Nashville, often referred to “Nashveagas,” ”Reflecting on her experience in the industry, Cole says, “I’ve taught myself how to live outside of reality, how to put on a show.”

Fittingly, the video draws from 120 Minutes-era MTV and features edited footage of skateboarders wiping out hard, rodeos, people getting arrested and dreamily shot closeups of Cole among other imagery, It’s a fever dream that captures the strangeness of contemporary America.

Video by William Ruben Helms

New Video: sundayclub Shares Shimmering and Broodingly Conflicted “Corydon Ave (To Meet You)”

Winnipeg-based indie duo sundayclub — Courtney and Nikki — have quickly cemented a sound and approach that blends hazy indie pop and dreamy textures with unfiltered storytelling. The result is material that’s much like blurry photograph, grainy yet glowing, fleeting yet full of feeling and life. 

The duo’s nine-song, self-titled, full-length debut saw its official release today through Paper Bag Records. Their debut is deeply informed by the stillness of rural Manitoba, where the duo started the band as a way of processing the very strange limbo of early adulthood — that feeling of being caught between who you once were and who you’re slowly becoming. Fittingly, the album is rooted in place: in a romanticized, re-examined Winnipeg with its hard edges softened in the way that memory often soften things. Thematically, the album touches upon growing up, growing apart and growing into your own skin. 

The album includes the previously released “Camera Shy,” “Blue Wave,” and the album’s latest single “Corydon Ave (To Meet You).” “Corydon Ave (To Meet You)” is a shimmering tune that’s simultaneously brooding, tense, full of barely contained longing, and rousingly anthemic while capturing a narrator, who’s conflicted, guilt-ridden and obsessed with someone — and the narrator just can’t quite figure out what to do or if what they want from this person is even possible. You can sense the desire to tell the

“Corydon Ave (To Meet You)” can trace its origins to the neighborhood where the band’s Nikki grew up — Winnipeg’s Corydon, a culturally rich pocket of the city that Courtney came to know through him. Spending time there, she found herself unexpectedly and intensely struck by a new acquaintance, who happened to be from the same neighborhood.

“Along with being struck with the beauty of it, I became impossibly and unexpectedly struck by a new acquaintance who also happened to be from the area,” Courtney explains. “Realizing the intense feelings and infatuation that quickly developed, the song took a deeply personal turn. It became an opportunity to create this world in which the two of us could be together, despite it being so fragile in reality.”

At the time, Courtney was navigating her sexuality, and what followed was complicated, consuming guilt-ridden and heady. The song became a way to hold all of it. “I was starting to explore my sexuality around this time and so there were also a lot of confusing, guilt-ridden feelings that came with it as well,” Courtney adds. “The relationship felt almost hedonistic at times because it felt so forbidden and self-indulgent and yet felt like something I wasn’t supposed to want or enjoy. It was a constant gauging of mine and her physical and emotional boundaries and I found myself wrestling between wanting to preserve and yet cross them at the same time.”

The gorgeously shot visual captures the narrator’s feverish, barely contained desire for her love interest in the subtle and often confusing “did that mean what I desperately hope it means?” moments of our lives, when we love someone and aren’t sure if it’s reciprocated and are afraid to take a bold chance. And if you’re queer or exploring what your sexuality is, that moment can invite a crushing fear — of being outed against your will or worse.

singer/songwriters by William Ruben Helms

Throwback: Happy 87th Birthday, Mavis Staples!

JOVM’s William Ruben Helms celebrates Mavis Staples’ 87th birthday.

Video by William Ruben Helms

New Video: London’s Eleanor Moss Shares Gorgeous and Intimate “The Way It Feels”

London-based singer/songwriter Eleanor Moss will be releasing her full-length debut, The Knife, The Needle on August 21, 2026 through Merge Records. The nine-song album concerns itself with the way relationships between people are transformed, complicated and troubled by love. It’s a devastating work and a feat of tight lyrical construction that is simultaneously patient and vulnerable, opulently rendered and keenly felt. But interestingly, The Knife, The Needle emerged from a place of restraint with Moss — staying in a cabin near her parents’ house in the Scottish Highlands after initially recording an entirely different version of the album in New York (“a bit rollicking,” she notes) — feeling the pangs of the album she hadn’t recorded — “quieter, weirder, more English.”

Recording an album with a new ensemble and producer/engineer Pete Miles was a risk, but for Moss, setting aside an already completed effort was worth it. With the quieter, weirder, more English sound, Moss attempts to capture something fleeting, ephemeral and honest about the moments in which love, for better or worse, irrevocably changes someone.

The album will feature the previously released “Sarah Waiting in the Car,” and its latests single, the breathtakingly gorgeous and timeless “The Way It Feels.” Moss’ achingly yearning and expressive vocal is accompanied by birdsong and her strummed acoustic, classical guitar — and the result is an intimate, timeless picture of a universe created in the bond between two people with the unvarnished humility and honesty of a narrator, who says “the more I learn, the less I understand.”

“This was the last song written for the album, and feels to me like it sums up the spirit of the record. The more I learn about love the less I know, the more I know about someone, the more I know I don’t know them,” Moss explains. “It feels like an appropriate last song for an album about paradoxes; love asks us to hold contradiction without giving in to its discomfort. A song about not turning away, but turning towards.” 

Directed by award-winning filmmaker Matthew Thorne, the accompanying video for “The Way It Feels” was shot in the Greek Peloponnese on 16mm film with Director of Photography Tasos Chatzis — and fittingly is as gorgeous and mediative as the song.