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‘The Journey’ - The Octopus Division

  ‘The Journey’ - The Octopus Division In ‘The Journey,’ a sonic mosaic unfolds that—permeated by neon-soaked synth pads and a melody that feels like memory—is less a song than a spiritual compass. The time that relentlessly pursues us, according to ‘Time keeps chasing us every day’, is not portrayed as an enemy, but as a constant touchstone that we face with our heads held high: ‘ We won't let the rain wash us away’ . Photography, here metaphorically as a key to the past, opens doors to moments that seem long gone but live on within us. The chorus – a kind of collective mantra – describes not just a journey, but an intertwining of stories that support each other. The garden in which hopes take root becomes a symbol of what must be nurtured in order to flourish. And when ‘ our songs have lost a note or two ’, it is not a flaw, but proof of lived depth. A song that is not meant to be heard, but to be lived through – like a familiar glance at an old photo album by candlelight. b...
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NenesButler

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

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