Skip to main content

Featured

Caught Between Reality and Reverie: “Woman in the Window” by Elizabeth Cuite

“Woman in the Window” by Elizabeth Cuite “Woman in the Window” emerges like a delicate mist, its tendrils weaving through the listener’s senses. In the quietude of indie-folk, Elizabeth Cuite’s artistry blooms, inspired by the shadows of unfulfilled promises and the ache of longing. Each note is a dab of color on a canvas of emotions, and the resulting work is both haunting and exquisite.  The guitar strings resonate like whispered secrets, and Cuite’s voice, clear yet imbued with vulnerability, paints vivid scenes. The musical arrangement moves with delicate precision, honoring the essence of the story. The gentle plucking of the acoustic guitar echoes softly, akin to the sound of steps traversing an old wooden floor. Cuite’s poetic prowess writes tales of missed opportunities, of paths not taken, and of love that lingers like a half-remembered melody. Her words are fragile, yet they carry entire musical universes within.  Elizabeth Cuite blends indie-pop nuances with folk, creatin

A direct and powerful attack: "Living in Blood" by Sons of Venus

Sons of Venus

SOV, Ilya Popenko
...is a band that consists of guitarist John Sully, drummer Ruslan Baimurzin and bassist Igor Reznik. Sully, who grew up in New York, used to produce music and sound for Ideal Glass, a former cultural oasis in the heart of the East Village, where he orchestrated eclectic late-night jams that frequently stretched into the wee hours. 
He encountered Baimurzin, who originated from Kazakhstan, at one of these gatherings. They immediately bonded on a musical and personal basis and joined forces with Reznik to form a band. The trio had a natural chemistry that enabled them to improvise almost polished songs on the spot. Inspired by cinema, theater, psychology, and sociology, and tackling themes like truth, death and redemption, they experimented with various musical genres such as prog, punk, elektro, blues and funk.


Living in Blood

The song opens with the sound of a massive liquid mass, swirling and surging, which slowly fades into a low bass pulse that echoes in the background, creating a dark atmosphere. A lone guitar plays a single-note melody that contrasts with the bass. 
The vocalist joins the guitar with a chant-like delivery, repeating the words “Blood, it’s what you want, blood, it’s what I have” as a sinister verse. A distant chorus bursts out with a loud shout, “Lying, Dying, Crying!” The song is a direct and powerful attack on the military industrial complex and its bloodlust. 
Living in Blood transports the listener to a bleak and dangerous world, created by geopolitical adversaries who play with global power without care.



Photo credit: Ilya Popenko

Artists of the Week! - The Playlist