Tag: Mondo.NYC Festival

12 years ago, I started what has been for me — my life’s work.

And honestly, when I started this site, I couldn’t have imagined three-quarters of the things I’ve done and experienced over JOVM’s history to ever happen. 

  • I’ve covered roughly 1,100-1,200 shows in NYC, with a handful of shows in Chicago and Baltimore
  • I’ve covered about a dozen or more festivals, including traveling to Montreal for M for Montreal back in 2019. 
  • I’ve been a panelist at Mondo.NYC Festival and at New Colossus Festival, speaking about PR, promotion and press for indie artists, giving my perspective as a indie blogger. 
  • A few years ago, I made a cameo in a JOVM mainstay’s music video. It’s a very noticeable spot towards the end of the video. It was a fun experience, but so far no one has called me about acting gigs. Maybe I need to stick to the writing and photography? 
  • I couldn’t have imagined photographing George ClintonPatti LaBelleSnoop DoggBlondieNile RodgersRoky EricksonPhilip BaileyBlind Boys of Alabama and so many others, as well as this site’s countless mainstays.
  • I wouldn’t have met the countless colleagues and musicians, who have become supporters and friends. And by far, music friends have proven to be the very best of friends. 

JOVM turned 10 in June 2020. And during the middle of the very worst of the pandemic, things seemed — understandably — bleak. And although we’re slowly managed to claw our way back to a degree of normalcy, in which gathering together can happen, things across the music industry still seem rather bleak: Touring has always been a big financial risk for musicians but COVID-19 has made it even more complicated, because musicians are out there risking their health and lives — because they need to make money to live. 

We’re all trying to figure out how to maneuver in a new, confusing and uncertain landscape that may well be with us for an indefinite period of time. But with these past 12 years under my belt, I have no intentions of going anywhere. 

I strongly believe that I’ve managed to carve out a unique spot in the blogosphere, a place that I feel is desperately necessary because both the music and media worlds are often so incredibly homogenous. Someone out there has to do something different. And representation in every aspect matters. So in many ways, this has to continue. 

As I do every month, I want to thank the following folks and organizations. Without them this past few years — and especially this year — wouldn’t have been remotely possible: 

Sash

Alice Northover

Bella Fox

Jenny MacRostie

Janene Otten 

All of those folks have been generous Patreon patrons. Of course, feel free to check out the Patreon page: https://www.patreon.com/TheJoyofViolentMovement. And if you’re able to support, your support will be greatly appreciated and continuously shouted out. Any amount really helps. Seriously. 

I must thank the folks at Creatives Rebuild New York. I’m relieved, proud and humbled to be included in their Guaranteed Income for Artists program. The money I’ll receive over the next 18 months will be put to good use — keeping this little dream of mine going. I don’t think there’s enough words to thank them — or to show how grateful I am. (I’ll keep trying, of course!) 

There are other ways you can support. 

You can also support by checking the JOVM shop: https://www.joyofviolentmovement.com/shop 

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.

Musings: A Decade of JOVM

I started this site 10 years ago today. . .

There aren’t many things in my life that I’ve done for every single day for a decade that I’ve loved as much as this very unique little corner of the blogosphere. When I started this site, I  didn’t — and couldn’t — imagine actually having readers, let alone readers across the US, Canada, the UK, the European Union, Australia and elsewhere. After all, this sort of work is deeply rewarding and yet strangely isolating.

I couldn’t have imagined the over 1,000 shows I’ve covered all across the New York Metropolitan area. I definitely couldn’t have imagined it being possible for be to cover shows for JOVM in Chicago while on a business trip for a day job; nor would I have dreamed of the possibility of covering M for Montreal last fall.

I couldn’t have imagined being a panelist on a Mondo.NYC Festival panel on PR and promotion for indie artists.

I couldn’t have imagined having a cameo in a JOVM mainstay’s video several years ago. (It’s a noticeable and prominent spot towards the end of the video, too. No one has called me up for acting gigs, so I may need more work on that. Or I need to stick to the writing and photography!)

I couldn’t have imagined photographing Patti LaBelle, Snoop Dogg, Charles Bradley  Sharon Jones, Nile Rodgers, Roky Erickson, Philip Bailey and so many others, as well as this site’s countless mainstays.

What will the next decade hold? I don’t know. If you asked me that question last November, I’d probably discuss my the very real possibility of repeated visits to Canada for festivals like Canadian Music Week, Montreal Jazz Fest and M for Montreal — with the hopes of building a deeper Canadian audience. I’d talk about my interest in music from across the African Diaspora. I’d spend time talking about my interest in covering acts outside the US. I’d also speak about my interest in wanting to cover more artists across the diverse LGQBTIA+ community  — particularly those of color. I’d probably also mention my deep and abiding interest in covering women artists and women led acts.

Live music won’t be a thing for quite some time to come. And whenever it does, the landscape will be different — and something we’ve yet to envision. So far, beloved venues have been forced to close because of economics. That will continue for the foreseeable future. What will happen to bands, who no longer have a place to play, where they can hone their sound and their live show? Who knows? After watching an industry-based panel, I don’t feel particularly optimistic about things in the short term. Some of us will figure out a way to adapt and survive; others sadly, won’t.

But in the meantime, JOVM will continue. It’s only the first decade, as far as I’m concerned!

**

I also wanted to talk a bit about some of my favorite albums of the past decade. This is by no means a comprehensive list; but I think that they might give some insight into the inner world of JOVM. And

Montreal-based DJ, production and electronic music artist duo The Beat Escape — Addy Weitzman and Patrick A. Boivin — can trace the project’s origins back to a short film they collaborated on when they were both in college. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” the Montreal-based said of their initial collaboration together in press notes. Interestingly, since that collaboration, Weitzman and Boivin have continued working together on a series of creative endeavors that have combined their interests in music and visual art, including a lengthy local DJ gig, which eventually led to the creation of The Beat Escape.

Released in early 2018, the Montreal-based duo’s full-length debut Life Is Short The Answer’s Long thematically and sonically found the duo returning to their origins — somnambulant, atmospheric art that feels like a half-remembered waking dream. Personally, the album’s material evokes a weird two-and-year period of international and domestic travel, in which I’d wake up in a hotel room and briefly wonder where I was, what time zone I was in and if I was even in the right place. Additionally, it evokes that weird sensation of everything being the fundamentally the same, yet different. If I’m in Grand Central Terminal, I think of Frankfurt-am-Main Hauptbahnhof and of Amsterdam Centraal Station. If I’m traveling underneath an elevated train, I’m reminded of the Chicago loop and so on.

I obsessively played Life Is Short The Answer’s Short through my time in Montreal. And now whenever I play it, I can picture specific locations, specific paths I took to get there, certain Metro stations with an uncanny precision.

Throughout the course of the site’s decade history, I’ve written quite a bit about Superhuman Happiness. The act has managed to survive through a number of different lineup changes and sonic departures necessitated by those lineup changes — and from the act’s core members following wherever their muses took them, Hands though is a joyous, mischievous yet deeply intelligent work that will make you shout and dance. Considering the bleakness of our world, this album may be much more needed than they ever anticipated.

Deriving their name from a Vladimir Nabokov short story about a traveler, who finds a place so beautiful that he wants to spend his life then but who cruelly  gets dragged back to brutal reality, the Dublin, Ireland-based act Cloud Castle Lake — currently Daniel McAuley (vocals, synths), Brendan William Jenkinson (guitar, piano), Rory O’Connor (bass), Brendan Doherty (drums), and a rotating cast of collaborators, friends and associates — received attention with 2014’s self-released debut EP Dandelion, an effort that firmly established the act’s uniquely sound: deeply influenced by and indebted to  Alice Coltrane and Pharaoh Sanders, the Irish act pairs McAuley’s tender and soaring falsetto with cinematic arrangements and expansive song structur es.

Released in 2018, the act’s Rob Kirwan-produced debut Malingerer is an ambitious, challenging and breathtakingly beautiful work that’s part film score and part cosmic meditation, full of aching yearning.

A couple of years ago, I caught the Irish act play at Rockwood Music Hall, as part of the Lower East Side venue’s monthly Communion showcase — and their set was met with awed and reverential silence.

Stockholm, Sweden-based garage punk outfit Sudakistan — Michell Serrano (vocals), Maikel Gonzalez (bass), Carlos Amigo (percussion) Juan Jose Espindola (drums) and Arvid Sjöö (guitar) — have one of the most unique and perhaps most 21st Century backstories of any band I’ve ever written about: four of the band’s five members emigrated to Sweden from South America with the remaining member being the band’s only native Swede. With the release of their debut album, 2015’s Caballo Negro, the members of Sudakistan received attention across Scandinavia and elsewhere for crafting material that draws from Latin-tinged garage punk rock with lyrics sung in English, Spanish and Swedish. Interestingly, the alum is arguably hardest and most mosh pit friendly of the band’s albums to date, the album’s material found the band expanding their sound through the incorporation of non-traditional punk rock instruments — seemingly inspired by the band’s desire to make each of their individual roles to be much more fluid. . “It was much more of a collaboration between the five of us,” the band’s Michell Serrano explains in press notes. . “Things flowed differently. Carlos sings on two or three songs, and Mikael sings on one. We swapped instruments quite a lot, and because we had access to everything in the studio, we were able to use some piano, some acoustic guitar and some mandolin, too.”

Additionally, the album’s lyrical and thematic concerns draws from the band members’ everyday reality with each individual member contributing lyrical ideas. “Our first album was made over five years, rather than five months, so the themes on it weren’t as heavy as this. Now, we’re talking about a lot of the things that we’ve gone through together since we started the band, as well as personal things – like, why do I keep repeating the same mistakes. We talk about pursuing our own Swedish reality, but that’s just because we’re living in Sweden – it’s relatable in any other country, I think,” Maikel Gonzalez says in press notes.

The album’s material resonates in an age of divisiveness, xenophobia, fear mongering and strife because its an urgent and passionate reminder of what’s possible with cultural exchange, empathy and curiosity —  bold new ideas, new takes on the familiar, as well as equality for all with everyone’s story behind heard, understood and championed. One day that will happen but we will have to work our asses off to get there.

 

Hannah Scott is an Ipswich, UK-born, London, UK-based singer/songwriter, whose work is heavily influenced by a year spent working on an olive press in rural Tuscany, Italy in her late teens.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London, but interestingly enough, they both recognized that they may have encountered each other years earlier, when she used to regularly pass through the train station that Della Casa worked in. When the duo began collaborating, they quickly recognized that they had an incredible connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and happy childhood — although as an adult, Scott was diagnosed with a form of arthritis, which causes severe joint pain and fatigue.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times, and the duo have received quite a bit of buzz over the past couple of years: they’ve been featured in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Last year’s  Pieces of the Night quickly established Scott as one of her country’s emerging singer/songwriters with the album pairing emotive and heartfelt songwriting with a warm and effortless production that meshed organic instrumentation — primarily acoustic guitar, cello and vocals — with atmospheric electronics. Building upon a rapidly growing profile, both Scott and her collaborator Della Casa have signed publishing deals with Ultra Music Publishing and Chelsea Music Publishing respectively.

Scott kicks off 2019 with the gorgeous, Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire.” Centered around Scott’s plaintive vocals, a soaring hook and spectral arrangement of acoustic guitar and atmospheric electronics, the song is inspired by a friend of Scott’s, who had a disability and out of fear of rejection and heartbreak, closed herself away. And as a result, the song is a plea to the listener to take a chance and open up to life and possibility.

 

 

 

 

Born the daughter of an artist, Hannah Scott is an Ipswich, UK-born, London, UK-based singer/songwriter, whose work is heavily influenced by a year spent working on an olive press in rural Tuscany, Italy in her late teens. Scott met her longtime collaborator, Italian-born and Italian-based multi-instrumentalist Stefano Della Casa when they were both in London, but interestingly enough, they both recognized that they may have encountered each other years earlier, when she used to regularly passed through the train station that Della Casa worked in. And as the story goes, when the two began collaborating, they recognized an incredible connection despite coming from very different backgrounds: Della Casa had a difficult upbringing and troubled adult life, while Scott had been lucky to have a supportive and happy childhood — although as an adult Scott has recently been diagnosed with a form of arthritis, which causes severe joint paint and fatigue.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times, and so far the up-and-coming duo have received quite a bit of buzz early on as they’ve been featured in MOJOSongwriting Magazine and as a “New Band of The Day” in The Guardian, and airplay on Bob Harris‘ and Dermot O’Leary‘s BBC Radio 2 shows, and had been on BBC Introducing as their “Track of Week” on three different occasions. Adding to a growing profile, Scott and Della Casa have opened for Seth Lakeman and 10cc — and if you’ve been frequenting this site you may recall that Scott and Della Casa played an intimate and gorgeous set at last year’s Mondo.NYC Festival.

Scott’s and Della Casa’s newest effort together, Pieces of the Night is slated for release later this year, and the album reportedly consists of material that finds the duo meshing live, organic instrumentation — acoustic guitar, cello and vocals — with slick yet tasteful electronic production, centered around honest songs on the human condition and human connection in an increasingly hectic world. Pieces of the Night‘s first single “Signs of Life” is a rousingly anthemic piano-led song that focuses on the need to push on through difficulties and hard times, no matter how dark and hopeless they may seem. Certainly, in our dark times, the song’s message is desperately needed — and while rooted in the experiences of its creators, the song is both personal yet universal.