Throwback: Happy 70th Birthday, Billy Idol!

JOVM’s William Ruben Helms celebrates Billy Idol’s 70th birthday.

New Audio: Jennifer Marley Shares Swaggering Banger “It’s Callin’ Me”

Jennifer Marley is an emerging DJ and electronic music producer, who has been remarkably prolific over the past 18 months or so. Her latest single “It’s Callin’ Me” is a swaggering tech house track anchored around the sort of driving bass line and club rocking thump reminiscent of Bubba Brothers and LutchamaK — while being simultaneously euphoria-inducing.

News/Announcements: Shoutouts to Patreon Patrons, Creatives Rebuild New York and Asian Arts Initiative

Earlier this year, I announced that JOVM had to go on a forced, indefinite hiatus. For a significant portion of this year, I just couldn’t financially manage all the various subscription fees to keep this site going.

In the two months prior to the hiatus, my business plan was pulled and the site was broken and essentially disappeared. Over a decade worth of music, arts and culture coverage were lost in the ether — seemingly forever or until I could figure out subscription fees. It also meant that whatever money I was making through ad revenue, disappeared, too. 

So, it meant taking some time to figure out what I could do and what was next. With all the unexpected free time I had without JOVM-related work, I admittedly went through a bunch of different emotions. For the first handful of days, I felt extremely depressed. Getting out of bed, showering and putting on clothes was difficult.

By the third or fourth day, I realized that I needed to do something different or I’d fall into a very deep hole. I wound up going on several long walks with my Canon R6 Mark II in hand. It kept me busy. Hell, it kept my mind busy on something else. And initially at least, it didn’t matter if the photos would be shared anywhere or not. But I did wind up sharing them on Instagram — because that’s what you do, right?

Now, remember JOVM has been a daily part of my life for over 15 years. And it’s been a daily part of some of your lives for much of that period, too. Being able to return to this work — for me and for you, dear reader — has been a great joy. 

As always, there are some folks that I need to thank. 

First, the Patreon Patrons, who have supported me through over the course of the past few years:

Sash

Alice Northover

Bella Fox

Jenny MacRostie

Janene Otten 

I must thank my pal and colleague Adam Bernard for chatting with me about JOVM and the site’s hiatus last month. 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

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. 

I also have to thank my man John Morrison, Philly’s preeminent music journalist for the support and encouragement. 

Last but not least, I have to thank a friend, who will remain anonymous upon their request for their generosity and support. JOVM’s return would be impossible without you and I can’t thank you enough.

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. 

One-Time
Monthly
Yearly

Make a one-time donation

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

If you’re willing and able to support more regularly, please feel free to check out my Patreonhttps://www.patreon.com/TheJoyofViolentMovement

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:

X/Twitter: @yankee32879 and @joyofviolent 

Instagram: @william_ruben_helms

Threads: @william_ruben_helms

Bluesky: @williamrubenhelms.bsky.social

Facebook: https://www.facebook.com/TheJoyofViolentMovement

As always, if there are posts that you dig, share them with your friends. The more eyeballs on my work, the better.

New Audio: Smag På Dig Selv Teams Up with Viktoria Søndergaard on Thumping “Vik’s Rawcore”

With the release of last year’s full-length debut, SDPSCopenhagen-based jazz punks Smag På Dig Selv (SPDS) — Oliver Lauridsen (tenor sax), Thorbjørn Øllgaard (baritone sax, bass sax, vocals) and Albert Holberg (drums) — firmly cemented their reputation as one of most boundary pushing groups out on the contemporary Danish scene. With a sound that’s an explosive, party starting mixture of acoustic techno, punk energy, jazz and 90s EDM, the Danish trio have begun to make the round of the international festival and touring circuit, playing sets at Roskilde FestivalSXSWThe Great EscapeEurosonicWinter Jazzfest NYC and Capital One City Parks Foundation SummerStage

SPDS’s highly-anticipated sophomore album is slated for a March 2026 through Stunt Records. The album will feature the previously released, TMI Tammi-produced “Let’s Go!,” a mix sneering, in-your-face punk attitude, ambient electronics, pulsing beats, thunderous Viking drumming and modal-influenced jazz that’s mind-bending, mischievously unhinged yet accessible and dance floor friendly. 

The album’s third and latest single, “Vik’s Rawcore” sees the rising Danish trio collaborating with vibraphonist Viktoria Søndergaard on a track that’s a mischievous blend of jazz lyricism and the relentless, industrial-inspired club rocking thump of drum ‘n’ bass while adding a gorgeous sense of counterpoint and texture.

The composition was inspired by Oliver Lauridsen’s time in Holland, where he became immersed in the local underground scene.

New Audio: TRAITRS Returns with Propulsive and Anthemic “i was ill, you were wrong”

With the release of their first three albums, 2017’s Rites and Rituals, 2018’s Butcher’s Coin and 2021’s Horses in the AbattoirToronto-based coldwave duo TRAITRS — longtime friends Sean Patrick Nolan and Shawn Tucker — firmly established a sound that blended horror-based imagery with anthemic choruses and cinematic, atmospheric soundscapes. And during that time, the duo evolved from bedroom artists selling cassette tapes to amassing millions of streams globally and playing hundreds of shows internationally. 

The Canadian duo’s highly anticipated Josh Korody-produced, Matt Colton-mastered fourth album Possessor is slated for a March 13, 2026 release. According to the band’s Shawn Tucker, Possessor is “the most personal record I have ever written.” The album was written during Toronto’s coldest winter months, informed by storm battered days and a heavy emotional landscape. The pair focused on capturing precise moods, with lyrics serving as the material’s driving force with the surrounding soundscapes grew to mirror the bleak beauty of the writing process.

Possessor will feature the previously released “Burn In Heaven,” a track that channels The CureBauhausDepeche Mode and Cocteau Twins, while showcasing their unerring knack for crafting rousingly anthemic hooks and choruses. The album’s second and latest single “i was ill, you were wrong,” continues a remarkable run of brooding and cinematic material. And while channeling a synthesis of New Wave and goth in a way that brings The Cure and New Order to mind, “i was ill, you were wrong,” is a chilly yet achingly heartfelt and intimate tune that showcases the duo’s rousingly anthemic hooks and choruses.

Thematically, the song examines humanity’s denial of its mortality and the complicated structures we build to distract ourselves from the fear of the inevitable, including the fragile bubbles we often create to shield ourselves from the one deeply universal thing that impacts us all — death.

“I felt that song connected me to everything and everyone, it is the one thing we all share and have in common,” the band’s Shawn Tucker says. “It is also a wake up call to live the life you want to live. We only have one chance at this so go dance in the rain.”

New Audio: I WANT POETRY Shares Ethereal “Mirrors Of The Sky”

German indie electro pop duo I WANT POETRY — Tine von Bergen (vocals) and Till Moritz Moll (keys) — have received attention for crafting music that simultaneously feels cinematic and deeply human, blending emotional depth with luminous pop soundscapes.

Developing a reputation for an immersive live show and striking visuals, the German duo have earned critical acclaim and a nomination at the European Songwriting Awards. The duo have played over 100 shows across their native Germany, Poland, Sweden and elsewhere, while making the run of the European showcase festival circuit. And adding to a growing national and international profile, the duo’s single “Light” landed on iTunes charts in several countries, amassing over 500,000 streams globally — and was selected for the soundtrack for the Canadian film, La mécanique des frontières.

2026 looks to be a breakthrough year for the German indie electro pop duo: Their highly anticipated third album, Future Selves is slated for an early 2026 release. The album is reportedly hopeful and transformative, inspired by a brief period of time when the future still felt like a promise, channeling the spirit of past utopias and dreams of progress. And as a result, it offers a forward-looking visions shaped by memory, imagination and the will to create what comes next. Sonically, the album’s material marks an evolution from the reflective tones of Solace + Light, featuring layers of shimming synths and soaring melodies.

The German duo will be touring to support the tour will include an appearance at The New Colossus Festival‘s seventh edition next March. But in the meantime, Future Selves‘ first single “Mirrors Of The Sky” is a slow-burning and broodingly autumnal track, featuring skittering beats and swirling, atmospheric synths. The song’s ethereal production serves as a lush, dream-like bed for von Bergen’s expressive, Kate Bush-like vocal. The result is a song that feels cinematic in scope, yet as intimate as a lover whispering in your ear.