Crisis to Crisis, the third album by NYC band Sons of Venus was released on in June. The album is a nuclear missile of existential prog-rock aimed at the heart of American greed.
Sons of Venus are John Sully, (Composition, Production, Vocals, Guitars, Keyboards) Ruslan Baimurzin (drums), and Igor Reznik (Bass). Sully the band’s frontman, was a composer and sound designer at Ideal Glass, a film and TV studio in the east village, where he put together after-hour jams when he met Baimurzin. After adding Reznik to the trio, the band now experiments with musical styles like prog, psych, punk, and funk, and has three albums to their name.
Crisis to Crisis, the third Sons of Venus album was recorded first by Sully; who tracked all the vocals, guitars, and keyboards, then sent the tracks to Baimurzin and Reznik for overdubbing. The result is a psychedelic journey that stays true to progressive and punk roots.
The particular sound of Sons of Venus’ Crisis to Crisis is difficult to pin down for many reasons. First, it is of a fleeting genre that has been out of the spotlight for decades. Second, the length of the songs averages over 6 minutes each, and third the lyrics are quite sad – depressing really. In all, Crisis to Crisis is not a pop album by any extent of the word. Sully says, “Crisis to Crisis is not music for the casual listener.” It will not be played on the radio. This, to me, is a positive. While not being tethered to what the broader population wants, the project has the freedom to speak of the future honestly and refreshingly. The lyrics explore the disappointing trajectory the world is heading down. Look no further than the album cover to see images of forest fires natural disasters, nurses, and the stock market.
The album has a spacey psychedelic sound that is clearly inspired by classic 70’s prog and psych bands such as, Yes and Rush. Additionally, many of the songs have distinctly David-Gilmore-esque, bending, trembling solos which add to the 70’s zeitgeist. Even the vocals are often mixed in such a way that adds to the aesthetic of belonging to a different era.
Standout Tracks:
“Dead Languages,” the opening track, begins with a crunching scratchy acoustic guitar that I wish there was more of throughout the album. The song blasts by on an intergalactic mission to expose the crux of our society. Sully’s lyrics reflect on the current state of human affairs. “We will forget the truths we let die inside ourselves.”
“Guaranteed,” the second track on the record has a unique groove to it that brings The Flaming Lips to mind. Sully says, “Forget about the world you can hardly care, as long as you’re getting what you think is fair.”
“The Art of Coincidence” is the sixth and final track which is the existential climax of the album. Heavy ominous bells ring announcing judgment day for us all. The finale of Crisis to Crisis has heavy synth production, tremolo, delay, reverb, and the tappings of crash symbols. Sully advises, “Touch the heart, tilt the scales, unfold the flags, raise the sails.”
Support Sons of Venus here.
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