From Mosh Pits to Mantras: How Extreme Metal & DIY Taught Jonathan Lambert to Heal

(EDITOR’S NOTE — Newfane's Jonathan Lambert is a well-known presence on the extreme metal scene. As a photographer and filmmaker, he's spent years chronicling that world, making two exceptionally produced and well-received documentaries — ‘Between Exultation and Aggression’ and ‘Between Exultation and Aggression 2’ — which can be seen HERE. Through his experiences traveling to shows across the northeast and midwest in pursuit of his art, he not only developed an unyielding DIY ethos but also learned how to build relationships — both of which led him down a spiritual path of self-discovery and a want to help others. Capitalizing on his DIY past and firsthand knowledge of the power of music, he’s now turned his energies toward helping those in assisted-living facilities and with special needs through Bhakti Yoga — the yoga of devotion — a practice which he delivers through musical healing. It’s a fascinating transition and we’re thankful to Jonathan for speaking with 112O Press about it all. Check out our story below and learn more about what he calls The Art of Staying Sharp HERE. — Photos provided.)

1120 PRESS: Thank you so much for speaking with us and sharing your journey into helping others through musical healing. But before we get started, your background is actually in the DIY world of extreme metal music. Can you talk about your involvement in that scene and how it led to this path? You mentioned you’ve drawn on your experiences in the DIY scene and have applied that knowledge in what you are doing now. We're curious to learn more about how it translates.

Jonathan Lambert (right) at work capturing a show.

JONATHAN LAMBERT: Thank you for opening up this space for me at 1120 Press. It’s a pleasure to bridge these two worlds together.

Live music has been the single constant in my life. With nearly 200 concerts under my belt, each show feels like a unique chapter of my history. During my teens and early adulthood, I was fully submerged in the DIY scene — not just as a fan, but as a documentarian. I spent years roaming the streets of Buffalo, Ohio, and Rochester, interviewing musicians for my documentaries: Between Exultation and Aggression 1 & 2.

Growing up, my social circle was small, and extreme metal became the space where I finally felt accepted. While outsiders might only hear chaos, that music resonated deeply with my spirit; it was uplifting and powerful, giving me the grit to pursue meaningful goals.

I take immense pride in the DIY ethos I embraced back then because metal was truly my greatest teacher. It taught me everything from graphic design and promotion to the importance of staying authentic to my art. Most importantly, it forced me out of my shell. It showed me how to build genuine relationships and produce high-quality work on a shoestring budget. It gave me the drive to not only create my own vision, but to care deeply about what others were creating and help push them forward. That same 'do-it-yourself' energy is exactly what I use today to advocate for seniors; I’m still building/aiding communities from the ground up, just with a different frequency.

1120: So, then, please talk to us about that transition. It’s quite fascinating.

JL: Where I am now is a direct extension of that same spirit, just channeled through a more calming frequency. My transition was sparked by the Japanese philosophy of Ikigai—the "reason for being" where passion, mission, and vocation finally intersect.

Under the spiritual guidance of mentors like Michelle Gigante (Shakti Yoga), Adam Bauer, Marla Pelletier and Arjun Bruggeman, I discovered the harmonium and found a way to channel my inner spirit through my voice. This led me to Bhakti Yoga, the yoga of devotion, which I now practice by serving residents in assisted living.

I’ve found that offering this kind of energy requires that exact same DIY work ethic. You have to be the one calling the facilities, sending the emails, and documenting the journey, because nobody else is going to do it for you. You have to be in it for the right reason: to be of service. The overlap lies in being drawn to something "different." Most assisted living facilities are used for performers, but I’m bringing an entirely new energy to that space with Indian instruments and chanting. Whether it’s a basement metal show or a kirtan session in a care home, the goal is the same: to create a space where people feel seen, heard, and moved.

1120: How did you ultimately discover this calling of musical healing? What told you this was a worthwhile pursuit?

JL: I ultimately discovered this calling as a deep observer of the human condition and the process of aging. Through years of introspection while hiking, and a close analysis of the 'loneliness epidemic,' I began seeking ways to provide support. I decided to throw myself into the 'unknown' for the benefit of society, as I feel that is a truly worthwhile pursuit.

My sensitivity to these issues began at a young age, when I was deeply impacted by the suicide of multiple friends in high school. That experience made me very empathetic toward male mental health challenges. Later, I witnessed my grandfather’s decline as he moved in and out of assisted living; I saw a void where there should have been cognitive engagement and spiritual offerings that bring people together rather than separate them.

My most defining trait is this yearning to always push myself toward the new. It was through that drive that I found yoga and the Bhakti side of me, which is now hungry to serve people in this unique way.

1120: Can you explain exactly what you do at these facilities: how the harmonium is used and what a session with patients looks like/involves?

JL: When I arrive at these facilities — both physically and spiritually — my intention is to offer the seniors a heart-opening experience rooted in vibration and community wellness. I see my role as a vital counterpart to the medical staff; while the nurses focus on the physical body, I focus on the often-overlooked necessity of keeping the human spirit alive.

I use the harmonium as my 'rock' — a grounding force that guides us through mantras centered on universal peace. I often tell people that I moved beyond the traditional role of a 'musician' or 'singer' a long time ago. This practice isn’t a performance for an audience; it’s a transmission. I’m not there to be watched; I’m there to facilitate.

The practice of Kirtan isn't about musical perfection; it’s about finding collective joy. I like to explain it this way: if Asana is the posture for the body, then Mantra is the posture for the mind ('Man' meaning mind, and 'Tra' meaning tool or vehicle). During a session, I teach the meanings behind these mantras and utilize call-and-response chanting. This allows the group to transcend the individual experience and move into a calm, collective state of being.

1120: The seniors you work with suffer from a wide range of afflictions. What do you think the benefit is to them of these sessions? What are they getting from this experience?

JL: I believe these sessions offer them a vital sense of relief. One of the first mantras I teach is "Hari Om." It is a beautiful distillation of my work; it is a call to the "Remover of Suffering" and a connection to the "Universal Vibration." In the context of the sessions I lead, it represents the moment when a senior’s pain, loneliness, or mental fog is cleared away by the resonance of the harmonium.

It is more than just a phrase — it is a greeting and a blessing that acknowledges our shared connection to the same cosmic frequency. When we chant it together, we are essentially saying that while the body may be fragile, the spirit is vast, vibrating with a peace that transcends our physical surroundings. The benefits of these gatherings include a reduction in anxiety and distress, a lightened mood, a space to express difficult feelings, and a sincere connection across a generational divide. I describe myself as the grandson who comes over to have fun and make great memories.

Jonathan Lambert at work with seniors.

1120: What is it about music and vibration that can reach a patient in a way that medicine cannot?

JL: One of the most interesting things I learned was that musical memory is often the last part of the mind to stay "lit up" because it’s stored in a different, more resilient area than names or facts. While Alzheimer's might take away language, the parts of the brain that respond to rhythm and melody are usually the last to fade. This is why a person who can't remember their own house can still sing every word to a song from their childhood. It allows you to connect with the spirit of the person even after their cognitive "doors" have mostly closed. This is the reason why I’ve really been focused on music as a way to heal.

1120: Can you talk about the ‘rhythmic breath’ mentioned in your literature? What is it and how is it used?

JL: Prana is the vital life-force energy that flows through all living beings, serving as a bridge between the physical body and the spirit. By using the breath as a vehicle, you can direct this energy to help seniors clear blockages and reconnect with their internal sense of vitality.

Kirtan is the tool that facilitates this communication of energy. One of my favorite things to share during my visits is that I am not a 'singer' — I have always been quite shy and reserved — but this practice isn't about me; it is simply the transmission.

1120: You work with groups, but you’ve also done work one-on-one. Is there a difference in what a patient may get out of a session individually as opposed to what patients might receive in a group setting?

JL: While I do visit one-on-one, there is a profound difference in the patient experience between individual and group settings. Individual sessions offer an intimate, highly personalized space for deep internal work. However, Kirtan is fundamentally built for the collective.

I recently came across the term 'collective effervescence,' coined by sociologist Émile Durkheim, and it perfectly encapsulates the group experience. It describes that intense, shared emotional energy and sense of unity that arises when people gather, creating the feeling of being part of something much larger than oneself. In a group, you can feel that communal love and joy in the air as synchronized sounds and emotions act as a powerful social glue.

Beyond the emotional connection, there is a physiological shift: chanting is known to release endorphins, the body’s natural stress fighters. While one-on-one work is deeply restorative, the magic of Kirtan truly flourishes in the group setting, where that shared energy becomes a catalyst for healing.

1120: While your work cannot technically be called a therapy, facilities have welcomed you. Why do you think they’ve been so receptive? 

JL: To speak without ego, I would say my offerings have been exceptionally well received. In follow-up conversations, activity coordinators and participants alike have expressed deep gratitude and intrigue, often asking when I can return.

I believe the 'magic' lies in my intention: I don't arrive as a performer looking for an audience, but as a servant looking to create a participatory environment. I often explain that I gave up on being a 'musician' a long time ago. My years spent attending concerts provided the data I needed to understand what actually creates a lasting memory. Whether it’s the visceral spectacle of Gwar, the iconic imagery of KISS, or the theatricality of Alice Cooper’s guillotine, I learned that engagement is everything.

Facilities are receptive because my approach is an anomaly. A 26-year-old inspired by Indian mindfulness practices with a singular passion for serving seniors is a rare combination — and I lean into that. By blending those diverse influences, I offer something that feels fresh, intentional, and deeply human.

1120: You mentioned you are constantly continuing your education and constantly working on new certifications. How do you envision yourself growing — or how are you aiming to grow — as a practitioner?

JL: I envision my growth as a continuous mission to bridge the gap between clinical intervention and holistic healing. Having completed my certifications in Music for Wellness (Berklee), essentiALZ (Alzheimer’s Association), and Music Helps (Music as Therapy International), I’ve built a foundation that allows me to serve my seniors with both scientific rigor and deep empathy.

However, I believe that as humans, we grow and learn the most when we step outside of our own bubbles and speak with people who hold vastly different beliefs, experiences, and points of view. This philosophy is the heartbeat of my newly launched podcast, 'Case Study: Reversing the Mental Health Crisis.' As a 26-year-old who has navigated depression, bullying, and the loss of friends to suicide, I am on a quest to discover if this global crisis is reversible. By traveling off the beaten path to interview a diverse range of guides — from neuroscientists and psychologists to indigenous elders, nutritionists, and philosophers — I am looking for solutions in the places others overlook. By examining the intersection of modern science and ancient tradition, I aim to grow into a practitioner who provides not just a service, but a holistic roadmap to reclaiming our collective well-being.

1120: Is there anything else you want to add that we haven’t touched on?

JL: I’d like to close by thanking all the readers and offering a nod of respect to you, Matt, for taking the time out of your week to ask about my journey. There is something truly special about articulating my thoughts so intentionally. This has been a wonderful experience.