JOVM’s William Ruben Helms celebrates Simon Raymonde’s 64th birthday.
Lyric Video: deary Shares Shimmering and Urgent “Smile”
Lyric Video: deary Shares Shimmering and Urgent “Smile”
@bellaunion @charmschoolm
New Video: she’s green Returns with Slow-Burning and Delicate “paper thin”
Minneapolis-based outfit she’s green — Zofia Smith (vocals), Liam Armstrong (guitar), Raimes Lucas (guitar), Teddy Nordvold (guitar) and Kevin Seeback (drums) — specialize in crafting dreamy soundscapes that transport the listener to scenes of soft summer rain and fields of swaying wheat, infused with raw emotional intensity.
With their earliest singles “river” and “smile again,” the Minneapolis-based quintet quickly became a staple within the Midwestern alternative scene, while earning praise from Complex, Star Tribune and The Current. Their debut EP, 2023’s Wisteria saw the band establishing an honest and exploratory songwriting process, as well as reputation for being a force in the world of sonic surrealism. They supported their material with tours across the Midwest and East Coast with Hotline TNT, Friko, JOVM mainstays Glixen and a list of others.
Last year, the Minneapolis-based quartet signed to New York-based Photo Finish Records, who released their Henry Stoehr-produced sophomore EP Chrysalis. The EP included the Souvlaki-era Slowdive-like “Graze,” and the Sundays-meets-A Storm In Heaven-like “Willow.”
Building upon a growing national profile, the Minneapolis-based outfit will be releasing their newest effort, swallowtail EP on July 10, 2026 through Photo Finish Records. The EP will feature the previously released “mettle,” a decidedly 120 Minutes-era MTV-like bit of shoegaze and dream pop and the EP’s latest single “paper thin.”
the slow-burning “paper thin” features swirling, gauzy shoegazer guitar textures that seem to be so fragile that they’re breaking apart as soon as they’re played, paired with Smith’s achingly melancholy vocal. The song captures the feeling of love slipping away right before your eyes — and the realization that there’s nothing you can do to stop it. At the core of the song is a bitter heartache, rooted in the familiar “what if’s” and “what would have beens” of every relationship.
The painterly shot, subtly surrealist video for “paper thin” that follows a night out that spirals out of control with a couple on the verge of a breakup, emphasizes the heartache at the core of the song.
New Audio: Club 8 Returns With Slow-Burning “There Is A Light That Seems To Go Out”
Since the release of 2024’s A Year With Club 8, Stockholm-based JOVM mainstays Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — the duo spent last year releasing a single a month over the course of last year, including tunes like “ooo,” “None Of This Will Matter When You’re Dead,” “Staying Alive,” “Born The Wrong Time,” “Sneaky Feelings” and “Daydreams.”
Earlier this year, the duo released “Echoes Of Our Time,” a nostalgia-inducing bop that channeled classic New Order and 80s pop. And late last month, the duo released their latest single “There Is A Light That Seems To Go Out,” a slow-burning and shimmering ballad that nods a bit at The Smiths, anchored around a familiar heartache over broken promises and things left unfulfilled and unresolved.
Throwback: Happy 87th Birthday, Marvin Gaye!
JOVM’s William Ruben Helms celebrates the 87th anniversary of the birth of Marvin Gaye.
New Video: Weird Nightmare Returns with Rousingly Anthemic and Earnest “Where I Belong”
Almost every band that’s worth a damn has had a member, who at some point worked in a record store. With JOVM mainstay acts METZ and Weird Nightmare, it was frontman and creative mastermind Alex Edkins. Slinging indie rock and hardcore records at his hometown record store while attending university, Edkins became an ardent student of rock ‘n’ roll from the psychedelic 1960s to the DIY 1990s and beyond.
Hoopla, Edkins’ sophomore Weird Nightmare album, which is slated for a May 1, 2026 release through Sub Pop globally and Dine Alone Records in Canada, reportedly sees the JOVM mainstay mixing and matching these wide-ranging influences in fun, exhilarating combinations, showcasing his sophisticated musical mind, while continuing to showcase his unerring knack for ridiculously catchy and rousingly anthemic hooks and choruses.
Co-produced by Edkins and Spoon‘s Jim Eno at Providence‘s world famous Machines With Magnets, Hoopla also sees the acclaimed Canadian artist expanding upon Weird Nightmare’s musical palette with the addition of piano, bells and castanets, which give his long-held straightforward songwriting a shiny luster.
The album will feature the previously released “Forever Elsewhere,” the Cheap Trick-like “Might See You There,” the punchy punk rock-like “Pay No Mind,” and the album’s third single “Where I Belong.” “Where I Belong” continues to showcase Edkins’ long-held penchant for rousingly anthemic hooks and choruses paired with some of the most introspective and deeply honest songwriting of the JOVM mainstay’s career. The song captures a narrator who’s recognizing that he’s getting older, that the road ain’t what it always is cracked up to be — especially since he has a family. The self-doubt and confusion at the core of the song are real and deeply lived in yet they feel universal and familiar to anyone, who’s inching into middle age.
Directed by boy wonder, the accompanying video for “Where I Belong” features Edkins in a thrift shop, playing his guitar and singing while trying on different outfits and personalties.
New Video: JOVM Mainstay Alewya Shares Broodingly Cinematic “Eshi”
JOVM mainstay Alewya is an acclaimed London-based singer/songwriter, producer and visual artist. Born in Saudi Arabia to an Egyptian-Sudanese father and an Ethiopian mother, the acclaimed London-based artist has spent her life surrounded by diaspora immigrant communities: She grew up in West London and after a several year stint in New York, she returned to London. Upon her return home, the Saudi-British artist developed and honed her ear for music through the sounds of the Ethiopian and Arabic music of her parents and the ambient and alternative rock albums of her brother.
She’s part of a generation of artists actively redefining global music, a generation that’s generally rooted in heritage, yet unbound by it. Describing herself as a painter, who makes music, Alewya approaches sound as texture and feeling, guided more by intuition than structure. Her sound and story help to widen the Black British frame, bringing the often under heard North and East African perspective into a much-needed focus.
Back in 2020, the JOVM mainstay burst into the scene with an attention grabbing feature on Little Simz‘s “where’s my lighter,” which caught the attention of Because Records, who signed the rising artist and released her critically applauded debut, 2021’s Panther In Mode EP.
Alewya’s highly-anticipated full-length debut, ZERO is slated for a June 26, 2026 release through Because London Records. The album reportedly embodies years of artistic growth into an effort that’s both deeply personal and sonically expansive. But the album also marks a significant milestone, as it sees her boldly stepping into a new creative era, defined by fearless experimentation and cultural fluidity.
ZERO will include the previously released “Night Drive,” feat. Dagmawit Ameha and “City of Symbols,” along with the album’s third and latest single “Eshi.” “Eshi” weaves broodingly atmospheric electronics, shimmering keys thumping beats and gnawa-like percussion with a looping figure played on an Eritrean and Ethiopian instrument, masenqo, a single-stringed bowed lute that features a diamond-shaped resonator. Alewya’s expressive delivery ethereally floats over the song’s widescreen production and instrumentation as it builds up and intensifies to a chant-driven crescendo. The result is a song that feels woozily anachronistic, in the sense that it draws from ancient traditions and pairs them with contemporary, Western/pop-influenced sounds and production techniques. “Eshi is rooted in tradition but unbound by it too, which is one of the pillars of ZERO,” Alewya explains.
The accompanying video was co-directed and co-produced by Yonas Tadesse, Frehiwot Berhane, Tedos Teffera and Alewya, and was shot in Lalibela, Ethiopia, during the celebration of Gena, Ethiopian Orthodox Christmas. The gorgeous, cinematically shot video captures and reinforces a strong sense of community and culture, both of which are central and defining forces in the JOVM mainstay’s work.
New Audio: Teen Jesus and the Jean Teasers Share Swaggering “BATH WATER”
Currently split between Ngunnawal/Canberra and Naarm/Melbourne, the rising Aussie outfit Teen Jesus and the Jean Teasers — Anna Ryan they/she, vocals, guitar), Scarlett McKahey (she/her, guitar, vocals), Jaida Stephenson (she/her, bass) and Neve van Boxsel (she/her, drums) — broke out into the national and international scene with 2022’s Pretty Good For A Girl Band EP, which received praise from The Guardian and Teen Vogue, as well as airplay from triple j.
Pretty Good For a Girl Band EP‘s lead single “Girl Sports” landed at #55 on the triple j Hottest 100 list. Building upon a growing profile, their full-length debut, 2023’s I Love You debuted at #6 on the ARIA Albums Chart and included “I Used To Be Fun,” which landed at #52 on the Hottest 100. Capping off a big year, they opened for Foo Fighters — and were named one of Spotify’s New Noise Artists to Watch for 2024.
“I Used To Be Fun” earned the band a J Award-nominations for Australian Album of the Year and Song of the Year for “I Used To Be Fun,” an APRA Award-nomination for Emerging Songwriter of the Year and Rolling Stone Australia Award-nominations for Best New Artist and Best New Single. And they won an AIR Award for Best Independent Rock Album or EP, a MusicACT Award for Artist of the Year and the Michael Gudinski Breakthrough Artist ARIA Award.
2024’s deluxe album, I Love You Too featured standout collaborations with Softcult on “Dull” and the rapidly rising The Linda Lindas on “Please Me.”
While developing a reputation as one of the Australia’s most exciting contemporary acts, the band has also received attention for their political concerns, including advocating for Green Music’s No Music on a Dead Planet, contributing to an Aussie Parliamentary inquiry into live music and being outspoken supporters of AAM’s Michael’s Rule. The rising Aussie outfit has found ways to channel their passion for music and social change into everything that they do.
Their sophomore album, last year’s Catherine Marks-produced GLORY, which included “BALCONY” debuted at #9 on the ARIA Albums Chart and #2 on the Australian Albums Chart. The album also was a triple jump Feature Album, while receiving airplay from BBC Radio 1, The Needle Drop and SiriusXM while receiving coverage from The Guardian, 10 Magazine Australia, Rolling Stone, ELLE, Cosmopolitan, Sydney Morning Herald, frankie, Ones to Watch and Billboard. They were also a Spotify RADAR artist, with their image on billboards in Melbourne, London, Seoul and New York, as well as cover places on the DSP’s major playlists in multiple countries, including All New Rock, Marrow, Rock Out and New Music Friday. And lastly, “Balcony” landed at #61 on the Hottest 100.
GLORY was an exploration of confidence, disgust, inflation and power set against widescreen indie rock that you can strut to, while showcasing the band’s embrace of a lived-in, messy — and often very fun — era.
Slated for an April 24, 2026 release through Mom + Pop Music, GLORY deluxe is an an extended version of their critically acclaimed sophomore album with two new, previously unreleased songs, “BATH WATER” and “GO WASTE MY TIME,” along with stripped back reworkings of four fan favorites, “TALKING,” “DAYLIGHT,” “MINE,” and “WONDERFUL.”
GLORY deluxe’s latest single “BATH WATER” is a a pub rock-meets-arena rock anthem that showcases the band’s unerring knack for big, catchy hooks and even catchier, shout along worthy choruses delivered with a defiantly swaggering strut. But the song is anchored around a mischievously smirking irony.
“BATH WATER’ is a slutty, drivey, fun song about coming home from a night out,” the rising Aussie band explains. “It’s about when you leave a bar and are actually really excited to hang out by yourself and enjoy your own company, in a Ke$ha way, though.”
Announcements: Shoutouts to Patreon Patrons, Creatives Rebuild New York, Asian Arts Initiative, and Donors
Last year, I announced that JOVM had to go on a forced, indefinite hiatus. For a significant portion of 2025, before going on hiatus, I could barely manage to financially keep the site going. At one point, over a decade of music, arts and culture coverage and photos were lost in ether.
That left me trying to figure out what I could do and what was next for JOVM. Believe me, it wasn’t easy. But I couldn’t and wouldn’t stay away for long. That’s just not how I’m wired. Thankfully, a last minute photo gig came through and with the help of a dear friend, who will remain anonymous (upon their request), JOVM was able to return — with a newfound spirit.
Although this one is a little late, there are a list of folks that I must thank for their support.
Patreon Patrons:
- Sash
- Alice Northover
- Bella Fox
- Jenny MacRostie
- Janene Otten
Donors:
- Melanie Rodriguez
- Kitty
- Dana Cooper Moore
Additionally, I must thank the following folks for their support and/or encouragement:
My pal and colleague Adam Bernard for chatting with me about JOVM and the site’s hiatus. You can check out the interview, in which I talk about how important it is to support independent journalists here: https://adambernard.blogspot.com/2025/09/saving-one-mans-movement-convo-with.html
The hardworking, 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. Being chosen to take part in the program and having an institution financially support my work was profoundly vindicating. The money wasn’t massive, but it allowed me to keep this work going during the beginning of one of the most uncertain and uneasy periods in recent memory. And it lessened some of the financial pressures of being an artist, creator and journalist in America.
Also, without CRNY, I doubt I would have learned of Asian Arts Initiative’s Sound Type Workshop. So, I just can’t thank those folks enough. And I’ll forever be in their debt.
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.
My man John Morrison, Philly’s preeminent music journalist for the support and encouragement.
Now, I must remind y’all, that The Joy of Violent Movement is a completely independent and completely D.I.Y. media outlet. Over the course of this site’s 15+ year history, I’ve used my fiercely independent stance to cover music with an eclectic and global perspective that a lot of other publications just don’t have — and will likely never have.
To that end, I could use your support to continue to keep bringing you my unique global perspective on music. There are a number of ways that you can support this work.
I’ve been told that some people would prefer to make a one-time donation because it’s easy and less of an obligation. So, if you’re able to make a one-time donation, there’s a donation box below.
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Anything you can give is very much appreciated. It can and does make a real difference, y’all.
I know that a lot of folks are struggling to make ends meet in an uncertain and tumultuous economic climate. So there are other, non-financial ways in which you can support this work.
You can follow me on the following social platforms:
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As always, if there are posts that you dig, share them with your friends. The more eyeballs on my work, the better.
Last, but not least, I have an important ask of you dear readers, friends and colleagues. I’ve been actively looking for work for a while. The job search can feel dehumanizing but in the past handful of months or so, it has been especially frustrating and deeply annoying.
I’ve spent just under 15 years in book publishing in the editorial departments of three different New York publishing houses — across both trade and academic publishing — as an Editorial Assistant and Acquisitions Editor.
Over the course of the past two-plus decades, my writing and photography has been published in a lengthy list of publications including Downbeat, Sound Collector Audio Review, Playbill (photography), The Advocate (photography), Out Magazine (photography), Premier Guitar (photography), Consequence, Earmilk (photography), The Inventory, Glide Magazine.com (writing and photography), Publisher’s Weekly, Sheckys.com, Shecky’s Bar and Nightlife Guide, New York Press, Ins&Outs Magazine (photography and writing), Dish Du Jour Magazine, Queens Ledger (writing and photography) Aussie music publication Musicology.xyz (photography) and countless others.
So if anyone has any leads on editorial, communications, writing and or photography jobs — including freelance, contract, project, part-time and full-time, please feel free to contact me.
Music industry folks, if you need someone to write bios for your artists and/or bands — or to take press photos, BTS photos, live concert photos or you’d like to have a tour photographer, please feel free to contact me.
As always, thank you all for your support.
Throwback: Happy 77th birthday, Gil Scott-Heron!
JOVM’s William Ruben Helms celebrates the 77th anniversary of the birth of Gil Scott-Heron.
Throwback: Happy 87th Birthday, Rudolph Isley!
JOVM’s William Ruben Helms celebrates the 87th anniversary of the birth of The Isley Brothers co-founder Rudolph Isley.
New Video: A Place to Bury Strangers Share Mournful “Song for Girl from Macedonia”
New York-based JOVM mainstays A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026.
Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes.
Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose.
Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation.
Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback.
Rare and Deadly will include the previously released, “Everyone’s The Same,” “Acid Rain” “Where Are We Now” and the album’s fourth and latest single “Song for Girl From Macedonia.” A brooding motorik pulse and swirling and atmospheric feedback serve as a lush yet mournful bed for Ackermann’s equally mournful delivery expressing a bitter sense of “what if.”
“We played a show in Macedonia anded this girl, who deeply connected with the music. Her brother helped us load gear, pure kindness, no ego. She was killed by a drunk diver, crossing the road,” Ackermann explains. “This song is for her. A small attempt at honoring someone, who deserved more time.”
The accompanying video features some mind-bending animation created by the band’s original projectionist Spencer Bewley.
New Audio: La Sécurité Returns with a Breakneck Ode to Food
Acclaimed Montréal-based JOVM mainstay collective La Sécurité — Éliane Viens (vocals, synths, percussion and drums), Félix Bélisle (bass, synths, percussion, piano and production), Kenny Smith (drum, guitar), Laurence Anne Charest-Gagné (guitar, percussion, vocals) and Melissa Di Menna (guitar, synths, vocals, percussion and artwork) — specialize in a brand of art punk that’s equal parts jumpy beats, off-kilter arrangements and minimalistic melodic hooks run through an insomniac filter that’s the result of excessive exposure to the city’s neon-lit late night scene.
The Canadian art punk collective’s music is about living dangerously and is prefect for being blasted at deafening levels on dance floors. But lyrically, the material is deeply inspired by and shares the ethos of the Riot Grrl movement, celebrating and defiantly advocating for the autonomization of women, friendship and benevolence.
Since the release of 2023’s full-length debut, Stay Safe!, which landed on the Polaris Music Prize long-list, the Montréal-based art punks have released 2024’s Stay Safe! REMIXED and last year’s “Detour” and “Ketchup.” Along with receiving critical praise both nationally and internationally, the outfit has made the run of the intentional festival circuit, playing sets at M for Montréal, New Colossus Festival, SXSW, End of the Road, The Great Escape, Reeperbahn and Festival International de Jazz de Montréal. They’ve toured as an opener for The Go! Team and The Rapture. And they’ve shared stages with Mauskovic Dance Band and JOVM mainstays Automatic and Death Valley Girls. During that whirlwind period, they also signed with Simon Raymonde‘s label Bella Union.
The JOVM mainstay act’s highly-anticipated, Emmanuel Éthier and Félix Bélisle co-produced sophomore album Bingo! is slated for a June 12, 2026 release through Mothland in Canada and the States, and Bella Union for the rest of the world. The new album reportedly sees the band continuing to meander in and around the fringes of punk, new wave krautrock and dance punk, while mischievously flouting stylistic form every change they get. While continuing to implement polyrhythm, counterintuitive chord changes and subtle melodic and harmonic dissonance, the album reportedly sees them introducing more New Wave, no wave, noise rock and shoegaze elements to the sound that has won them intentional acclaim.
The album’s material features songs that tackles knotty themes like mental health, the autonomization of women, dysfunctional relationships with their custom moxie. Other songs playfully muse about food or address everyday mundanity with sarcasm and irony. There’s a song that celebrates unsung heroes, like the elderly. Much like its predecessor, many of the album’s tracks saw the group improvising lyrics in the studio, effectively catching lightning in a bottle.
The album was recorded with the band playing life off-the-floor, using rare ribbon microphones and vintage compressors. Adding to the overall free-flowing feel and vibe to the album’s material, many of the song’s hooks were improvised through jazz-tinged musical flights during recording sessions. The album was mixed by Bélisle and Étheir before being mastered by Robin Schmidt.
The result is an album that harnesses the Montréal-based art punks’ natural sound, a sound that fuses calculated musical chaos and musicality with high decibels.
Bingo! will feature the previously released “Detour” “Ketchup,” and the title track “Bingo,” which was released earlier this year, as well as the album’s latest single “Snack City.” “Snack City” is a breakneck mix of punk rock and post punk with overt nods to Freedom of Choice-era Devo. The result is a mischievously absurdist and fidgety tune about primal, downright glutinous needs and desires.
“We wrote the song when we were hungry,” the band explains. “The segment ‘J’ai faim, j’ai faim, […],’ which translates to: ‘I’m hungry, I’m hungry, […]’ was the basis of the scat singing that remained. We had fun with food anecdotes, food-related puns, etcetera.”
Continuing their ongoing collaboration with director Phillipe Beauséjour, the accompanying video for “Snack City” is inspired by snacking and past era cookbooks and features collage animation spliced with imagery and footage of the band on tour — sometimes eating or snacking. “The band wanted a music video with images taken from their cellphones, including photos and videos from their tours. I found the challenge very fun, considering that the most interesting content was already done,” Beauséjour explains. “So, I created a universe inspired by scrapbooking, using what I could find in my multiple 60s and 90s cookbooks. I still wanted to bring a touch of animation, by constructing Éliane’s face several times with food. A little inspired by Giuseppe Arcimboldo’s ‘Summer.’”
New Audio: Choses Sauvages Shares Shimmering “Seul”
Last year, rising Montréal-based outfit Choses Sauvages — La Sécurité‘s Félix Bélisle (vocals, synths), Totalement Sublime‘s Marc-Antoine Barbier (guitar), Theirry Malépart (keys), Tony Bélisle (keys), Philippe Gauthier-Boudreau (drums) and Frais Dispo‘s Charles Primeau (bass) — released their third album, Choses Sauvages III through Audiogram.
The album, which featured album singles “Incendie au paradis,”En joue,” and “Cours toujours” showcased a decidedly post-punk sound that featured elements of post-punk, New Wave and krautrock. Released to praise from critics across Quebec and Europe, Choses Sauavages III landed on the 2025 Polaris Music Prize Long List and received an ADISQ nomination for Album of the Year — Alternative.
The Montréal-based outfit has played in France, Spain, Belgium, the UK, Germany and Mexico. Back in 2023, they toured as the opener for The Bright Light Social Hour‘s 30 date tour, which saw the JOVM mainstays playing across the US and Anglophone Canada that included a stop at Mercury Lounge. And adding to a growing national and international profile, the band has made the run of the international festival circuit with sets at Pitchfork Music Festival Paris, Printemps de Bourges, MaMA, Pete The Monkey, Mad Cool — and earlier this year, The New Colossus Festival.
“Seul,” their first bit of new material since last year’s Choses Sauvages III, continues a run of hook-driven, shimmering post punk — but while showcasing subtle No Wave elements with bursts of funky horns.
“’Seul’ deals with limerence and the romanticization of toxic relationships. This song is a question directed both outward and inward—a moment when the obsession with finding answers to matters of the heart embraces the vulnerability of a lost child in a shopping mall,” Choses Sauvages’ Félix Bélisle explains. “These emotional states unfold against a sonic backdrop that is at once danceable and abrasive, drawing inspiration from the New York No Wave movement.”
Throwback: Happy 71st Birthday, Angus Young!
JOVM’s William Ruben Helms celebrates AC/DC co-founder Angus Young’s 71st birthday.