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.”
The Binghamton Philharmonic Orchestra has announced the opening concert of their 2024-2025 season, “Restless Oceans.”
Acting as the Southern Tier’s largest and longest-serving symphony orchestra, the Binghamton Philharmonic Orchestra has been presenting the population of Downtown Binghamton and Broome County at large with an annual series of classical, pops, and chamber music since 1955.
Represented by Local 380 of the American Federation of Musicians and hailing from the Southern Tier, New York City, and beyond, the professional musicians of the Binghamton Philharmonic Orchestra serve up to 10,000 people annually within and beyond the concert hall.
Returning for their 2024-2025 season, the Philharmonic is bringing the concert Restless Oceans to the stage on Saturday, September 28. Taking its name from its first piece, the program spans two centuries of music celebrating the healing power of nature.
Highlights include the titular “Restless Oceans” by celebrated Anglo-American composer Anna Clyne which connects the sound of the natural world to the resiliency of the human spirit, Richard Stauss’s witty and jovial Horn Concerto No.1 that utilizes the French horn to evoke the ancient sounds of the hunt, and the concluding Beethoven’s famous hymn to nature and its restorative powers, Symphony No.6, the “Pastoral”.
Included in the performance of Horn Concerto No.1 is the Philharmonic’s principal horn Alex Shuhan as soloist. Shuhaun is not only the principal horn for Binghamton Philharmonic- he holds the same position in the Fort Smith, Arkansas Symphony Orchestra as well as teaching at Ithaca College as a Professor of Horn. Performing as a soloist in orchestras across the United States as well as touring the globe in the Rhythm & Brass ensemble he co-founded, Shuhan’s performances are not to be missed.
In addition to a riveting concert, the Philharmonic invited the public to a Pre-Concert Chat at 6:30pm, “Sound and Vision in Beethoven’s Sixth Symphony” by the Philharmonic’s Director of Education and Community Engagement Dr. Julia Grella O’Connell. In the season’s first installment of the Philharmonic’s pre-concert talks, Dr. Grealla O’Connell will discuss the avenues Beethoven took to communicate particular visual information to listeners through sound.
Tickets are available now, starting at $28. Kids 17 and under attend free thanks to the Symphonic Series Sponsor M&T Bank. For more information and ticket purchasing, visit the Philharmonic’s website here.
This September 29, Oak Mountain in Speculator announces the return of the acclaimed Oaktoberfest. The Central Adirondacks festivities include a wide array of activities for the whole family.
The views from Oak Mountain in the Fall
Oaktoberfest in Speculator is back and better than ever. This family-friendly event is bursting with activities and entertainment, including live music with The Altered Tones & Wayward Folk. Upstate roots-rock band The Insolent Willies are planned to perform both original and all-time classic tunes for the crowd.
The event begins at 12 noon and wraps up at 4 PM on September 29. Oak Mountainâs Acorn Pub and Eatery serves fall favorites and a full bar. One of the Adirondack’s most critically acclaimed breweries, Paradox Brewery is set to serve some brews. Nine Pin Ciderworks from Albany is planned to be on tap as well.
The event includes vendors, a craft market, wine and beer sampling, a camp store with snacks and games, and even the opportunity to visit with animals at the Utica Zoomobile. In the spirit of Oaktoberfest, you’ll want to be sure to participate in the German costume contest and ride the chairlift to the top of Oak Mountain to enjoy views of the beautiful Adirondack fall foliage.
What could be better than the picturesque Oak Mountain displaying the lovely fall foliage? Oak Mountain in all its fabulous fall glory, with scenic lift rides, delicious food and drinks, live music, and so much more. Be sure to bring the whole family, as there’s something for each and every individual who partakes in the festivities.
For more information on Oaktoberfest click here. Additionally, to learn more about Oak Mountain in Speculator, NY, click here.
Janeâs Addiction has officially canceled the remainder of their tour with Love and Rockets following a string of incidents involving frontman Perry Farrell. Tensions within the band became evident during their September 10th performance at The Rooftop at Pier 17 in New York City, where Farrell appeared incoherent on stage, leading to an underwhelming show.
This came just days before a public altercation between Farrell and guitarist Dave Navarro during a concert in Boston, where Farrell lashed out, escalating tensions.
Jane’s Addiction at Pier 17 9/10/24
Love and Rockets, who had been opening for Janeâs Addiction on this tour, brought their own legacy to the stage with their unique blend of gothic rock and alternative sound. Fans were excited to see the iconic band reunite after years of absence, and their performances were well-received throughout the tour. However, the tension within Janeâs Addiction cast a shadow over the shows. While Love and Rockets delivered solid sets, the unpredictability surrounding Janeâs Addictionâs headlining performances often left audiences uncertain about the night’s outcome.
With the tour now canceled, Love and Rocketsâ involvement has come to an abrupt end as well, disappointing fans who were eager to see both bands share the stage.
Love and Rockets Pier 17 9/10/24
The band announced their decision on Monday via Instagram, stating they were taking time away due to Farrellâs ongoing struggles with mental health. Navarro, along with drummer Stephen Perkins and bassist Eric Avery, also issued a joint statement citing concerns for Farrellâs well-being and the safety of the entire band. Their message expressed regret over the cancellation but emphasized the need to prioritize safety and ensure a stable environment for future performances. The tour, which was set to run through October, was cut short, leaving fans disappointed but understanding of the difficult situation.
Perry Farrell Pier 17 9/10/24
Farrell later issued an apology to the band and fans, acknowledging his behavior during the Boston incident and taking full responsibility for his actions. He expressed regret over reaching a “breaking point” and the impact it had on those around him. Despite hopes that the band would return to the stage soon, no further tour dates have been announced, and refunds for the canceled shows are being offered to fans.
Dave Navarro Pier 17 9/10/24
This sudden breakdown has cast a shadow over what was expected to be a high-energy tour, leaving the future of Janeâs Addiction unclear. Fans are left wondering what lies ahead for the band as they face these internal challenges.
Jane’s Addiction Setlist: Kettle Whistle, Whores, Pigs in Zen, Ain’t No Right, Ted, Just Admit It, Summertime Rolls, Jame Says, Then She Did, Mountain Song, Three Days, Ocean Size, Stop, Chip Away
Love and Rockets Setlist: The Light, Kundalini Express, No Big Deal, The Dog End of a Day Gone By, Haunted When the Minutes Drag, No New Tale to Tell, An American Dream, So Alive, Ball of Confusion, Mirror People, Yin and Yang
The Grateful Dead played a brief 10-show tour in September of 1973 and included among these was a stop at the Onondaga County War Memorial in Syracuse. This tour featured the one and only time the band would be joined by a horn section on stage. Tenor saxaphonist Martin Fierro and trumpeter Joe Ellis were familiar with some of the Dead’s catalog, mainly due to their involvement with the recording of the band’s sixth studio album Wake of the Flood, which would be released the following month.
As it happens, Fierro and Ellis were members of The Doug Sahm Band which served as the opener for eight of these shows. Since they were already on tour with the Dead, a sit-in seemed only natural. According to Fierro, the horns were not incredibly well received at the time as this was a stray from the standard Grateful Dead concert experience. But their knowledge of the material is evident and offers a unique twist on some of the classic songs from the band’s repertoire. On this evening in Syracuse, with the exception of “Here Comes Sunsine,” the entirety of Wake of the Flood would be played, serving as a sneak peek for the new album.
The recording of this show, which can be found below, doesn’t start until the tail end of the “Tennessee Jed” opener. The Dead follow this up with a blistering “Me and My Uncle” with Phil Lesh coming in loud and clear on the bass guitar. This is succeeded by another first set staple with an uptempo version of “They Love Each Other” which made its debut earlier this year and is highlighted by some delicious guitar licks from Jerry Garcia and timely fills from Keith Godchaux on piano. It’s a short, but sweet, take and very much to the point.
Some classic Dead tuning then takes place with Bob Weir advising the crowd about a “couple of technical problems” before the band launches into an older first set standard with their cover of “Beat It On Down The Line.” Here, Donna Jean Godchaux makes her voice heard for the first time as she and Weir harmonize throughout on another crisp albeit brief opening set selection. The musical reigns are then passed back to Garcia who leads the band through a slow and soulful “Sugaree” with Lesh coming in hot on bass towards the song’s end.
Weir then reassumes lead vocals on another rapid first set song in “Mexicali Blues” that the Dead navigate through with ease before “Loser,” which is also partially cut on the recording and has some echoey vocal effects from Garcia to along with his signature pristine guitar solo. This sets the stage for a poignant “Looks Like Rain,” a song first featured on Bob Weir’s solo album Ace that was released last year. It features some interesting synthesizer and electric keyboard work from Godchaux that supplements Weir’s always impassioned vocals nicely.
Things stay in the emotional vein with a slow and plodding “Row Jimmy” that follows with Garcia, backed by Donna Jean on vocals, leading the way and drummer Bill Kreutzmann maintaining a deliberately steady tempo throughout. A little steam begins to pick up with the “Jack Straw” that follows which sees more intricate piano work from Godchaux to go along with some three-part vocal harmonies before Garcia leads the way on another fairly new number in “Loose Lucy” which also made its debut earlier this year.
Donna Jean even gets to take center stage in this opening set in Syracuse as she jumps on lead vocals for the Grateful Dead’s cover of Loretta Lynn’s “You Ain’t Woman Enough.” It’s a song the band would only play a handful of times in 1973 and this is the second to last ever performance of it with her husband throwing in some spirited work on piano. This carries right over into the “El Paso” that follows before the Dead end the first set at the War Memorial with the Robert Hunter and Garcia-penned “Casey Jones” that starts off rather mellow but, like a train barreling downhill, picks up in speed and intensity by the time all is sang and done.
After a chock full first set with 15 different songs played, the Dead opened up and let loose with a much more improvisational second one on this night in Syracuse and finally broke out the horn section. After an introductory “Mississippi Half-Step Uptown Toodleoo,” Martin Fierro and Joe Ellis finally emerge for the majority of the rest of the show. They begin with a rather unknown tune at the time, “Let Me Sing Your Blues Away,” which would be featured on the upcoming Wake of the Flood release. Garcia, Weir and Donna Jean are all involved on vocals with Fierro taking an extended saxophone solo that helps serve as the song’s bridge. It’s a song the band would only play live on this brief September 1973 tour.
Phil Lesh then gives a belated and quick introduction of Fierro and Ellis before the start of “Truckin’” which has a bouncier, jazzy feel to at the outset thanks to the additions from each. The horns maintain a steady presence all throughout the composed section and well into the jam that ensues. It’s a song that had been played three times already on this tour so there’s a discernable comfort level in the playing which makes for a very unique take on a Grateful Dead classic that sees Fierro and Godchaux linking up to take control in the latter portion of the jam that ensues.
The ensemble would go on to play some more songs from Flood, including “Eyes of the World” with Fierro and Ellis continuing to provide background harmonies on horns, especially in the purely instrumental sections between verses. Fierro gets an extended solo as the jam progresses and meshes nicely with the rest of the band although Ellis sounds a bit too excited and a bit off key before Garcia reels things back in to a more customary “Eyes” jam. Once finished, the band then jumps right into a full “Weather Report Suite” where the horns are much more understated and seem to fit a little better. The same can be said for the beginning of “Let It Grow” as Fierro and Ellis are comfortable with the composed/lyrical section but seem to do a little too much once the jam that ensues begins to stretch out a little.
The Grateful Dead wrap up this Syracuse show with a mellow and somber “Stella Blue” that sees Fierro on sax mesh perfectly with Garcia’s guitar tone. After one last tuning break, this one seemingly inspired by the Looney Tunes theme, a “Sugar Magnolia” closes things out with the horns taking a bit of a back seat at first and then coming alive in the “Sunshine Daydream” section.
Overall, there are moments of greatness, mainly during compositional and slower sections, but the horns seem to try to do a bit too much when the improvisation kicks into high gear. This is likely what led to some Deadheads being less than enthused about their addition to a traditional Grateful Dead show. This brief tour would go on to Philadelphia and Pittsburgh, PA before ending in Buffalo at the War Memorial nine days later.
Grateful Dead – Onondaga County War Memorial – Syracuse, NY – September 17, 1973
Set 1: Tennessee Jed, Me & My Uncle, They Love Each Other, Beat It On Down The Line, Sugaree, Mexicali Blues, Loser, Looks Like Rain, Row Jimmy, Jack Straw, Loose Lucy, You Ain’t Woman Enough, El Paso, Casey Jones
Set 2: Mississippi Half Step, Let Me Sing*, Truckin’*-> Eyes Of The World*-> Weather Report Suite Prelude*-> Weather Report Suite Part 1*-> Let It Grow*-> Stella Blue, Sugar Magnolia
*with Joe Ellis on trumpet and Martin Fierro on saxophone
Tops of Trees takes the stage at Funk ‘n Waffles in Syracuse on September 21, and joining them for this high-energy event is local favorite, Spent Grain.
Tops of Trees are an original nine-piece rock & soul ensemble hailing from Saratoga Springs. They have quickly made a name for themselves in Upstate NY and beyond, known for their genre-blending sound and dynamic live performances, they are set to deliver an unforgettable show that highlights their tight rhythm section with blistering vocals and an unshakeable horn section.
In the short time they have been together they have created a buzz by thrilling audiences with their high-energy performances. The group’s modern interpretation of soulful music steeped in early R&B, funk and blues propelled them to notoriety in upstate NY culture.
Sharing the stage with Tops of Trees is Spent Grain, a Syracuse-based band renowned for their unique fusion of blues, rock, and a touch of Americana. Spent Grain’s heartfelt lyrics and captivating melodies have earned them a loyal local following. Their performance is expected to set the perfect tone for the evening.
Doors to the show open at 7:00 PM, and the music kicks off at 8:00 PM. Don’t miss out on this opportunity to see the debut of Tops of Trees to Syracuse with Spent Grain.
For more information and to purchase tickets to the event, visit Funk ‘n Waffles website by clicking here. To learn more about Tops of Trees and to stay up to date on their shows, click here.
Clairo kicked off her five-night residency at Webster Hall on Friday, September 14th to a sold-out crowd. Webster Hall is the perfect venue to experience Clairo’s music, and more artists should prioritize smaller venues like this. Sure, she’s playing four extra shows to sell the same amount of tickets as she would in an arena, but the difference in experience is staggering.
While Chappell Roan is currently making headlines for setting boundaries with fans, Clairo is just coming off a three-year hiatus with her new album Charm due to her own experiences with people repeatedly invading her privacy. Finding a way to comfortably interact with fans at shows and online should be a priority for any artist. Clairo deserves huge props for her commitment to doing things in a way that feels comfortable for her.
Webster Hall was packed before Frankie Cosmos opened, with people overflowing through the side doors of the main ballroom and lining the balcony. Frankie Cosmos’ sound has developed nicely over the past years, with better production and instrumentation. In particular, her drummer injects some extra funk into the mellower songs. Even though Frankie Cosmos was a late addition to the Webster Hall shows, Greta Kline said she was happy to see people outside her fanbase singing along.
Clairo and her ensemble entered the stage single file with a tray of glasses to cheers and sat down on the set for a little pre-show drink. As she poured wine and handed it to her bandmates, Clairo, in her headphones, black dress with gold ribbons, black tights, and heeled loafers, talked quietly with her ensemble before they eventually clambered to their designated positions on the stage’s tiered platforms covered in green carpet. The stage held a staggering amount of instruments to be used over the show’s hour and a half runtime with a flute, chimes, sax, electric guitar, nylon string acoustic guitar, bass guitar, a real piano on the stage, synths, and a drum machine on an antique table next to Clairo for her song “4Ever.”
Clairo played through the entirety of her excellent new album, Charm, interspersed with some of her fan favorites. Charm adds much more intrigue to Claro’s sound, incorporating jazzy layered synths and a laid-back West Coast cabana vibe on some tracks such as the album’s opener “Nomad” and “Glory of the Snow.” Clairo takes this sound further with a modern electronic spin on tracks like “Sexy to Someone” and “Echo.” “Echo” specifically features a jaunty little synth that harkens back to the likes of Broadcast.
After four songs she requested the lighting tech turn off the front lights and spent most of the show backlit by the giant light handing over the middle of the stage. She seemed reserved at the beginning, but by the second half of the show, she found her groove, and you could tell she was enjoying playing in her home city. A fan held up a red and white ringer tee they made for her that said “Clairo is For Lovers,” and Clairo loved it, saying she would wear it to bed that night. That’s probably the only fan out there who can say they’ve given an artist their favorite pajama tee.
BRIC Arts and Media Institution of Brooklyn announced this past week its 10th anniversary celebratory JazzFest 2024, with 18 performances over the course of three days.
BRIC Arts Media, based in Downtown Brooklyn has been bringing free access to creative and cultural programming as well as opportunities for local artists to realize their works since its inception.
Originating as The Fund for the Borough of Brooklyn in 1979, the organization offers residencies, youth fellowships, grants, prizes, and partnerships to the artists of the Brooklyn community, as well as collaborations with other public resources in the area including Media Education classes at the Brooklyn Public Library, a cyclical program focused on community engagement through the arts titled the Intergenerational Community Arts Council, and partnerships with over 75 organizations to bring media and production skills to nonprofits based in Brooklyn.
One of the biggest programs run by BRIC in recent years is the BRIC Jazzfest, an annual presentation of the newest voices and hidden gems of the Jazz scene. Now, a decade into the program, BRIC will present “A Decade of Discovery” from October 17-19, a dazzling three-day lineup showcasing rising stars, contemporary innovators, and jazz legends.
Day one will consist of performances by NEA Jazz Master Gary Bartz co-headlining with acclaimed harpist Brandee Younger, genre-defying drummer Kassa Overall, rising star Josh Johnson, and emerging talents Milena Casado and Mali Obomsawin.
Performances for day two feature cutting-edge drummer and produce Makaya McCraven, jazz luminary Terri Lyne Carrington, innovative alto saxophonist Caroline Davis, and percussionist Daniel Villarreal.
The concluding evening will cover the full spectrum of contemporary jazz, highlights including powerhouse saxophonist Lakecia Benjamin, jazz elder statesman Reggie Workman, jazz and Iraqi maqam fusionist and trumpeter Amir Elsaffar, Australian neo-soul artistAllysha Joy, and Afro-Cuban jazz master Joaquin Pozo.
In addition, the final evening will conclude with a special jam session honoring the legacy of jazz drummer Casey Benjamin curated by a party and live music experience called The Jungle, a collaboration of DJs, musicians, and artists for a unique journey across the African Diaspora- embracing Latin, Jazz, Afrobeat, Amapiano, Percussion, Brazilian, Caribbean, House, and Soul sounds.
Three-day passes are available now. For tickets, the full festival schedule, and more information, please visit here.
The “CNY Jazz at Timber Banks” talent lineup has been announced, the first launch of the CNY Jazz 2024-2025 season. The 34-show event takes place on Tuesday nights at Timber Banks Golf Club in Syracuse.
Cheri Giraud & Dan Pugh
The CNY Jazz series lasts from September to May, with a total of 34 groundbreaking shows. It features regional and national artists from 6 to 9 p.m. at Persimmons restaurant in the Carlton Holmes-designed clubhouse of the Seneca River golf and marina community. The cabaret dining schedule starts September 17, focusing on the finest voices in jazz, pop, and Americana in the region, and a twist or two has been thrown into the mix.
Singers Ronnie Leigh, Nancy Kelly, Cheri Giraud, Julie Falatico Montalbano, Mike Houston, Kirsten Tegtmeyer, Scott Dennis, Alex Becerra, Vanessa Vacanti, and Mary Nickson all appear. QUATRO provides progressive Americana harmony by Chuck Schiele and Heather Kubacki. Instrumental groups led by Steve Brown and John Rohde step in to play.
A special Mardi Gras event is the centerpiece of the season. On Fat Tuesday, March 4, the legendary Soda Ash Six, brings their 6-piece unit to play a party. This event is accompanied by a special New Orleans menu.
The unusual “Bass On Top” duo makes its first winter season appearance in the CNY Jazz series. The entire series is free, with no admission or cover charges. Holders of CNY Jazz Club cards receive 10% off food and drink at these events.
“This is the only weekly cabaret dining experience to be had north of the Thruway in Central New York. Literally every established jazz vocalist in the region is represented. We have a lot of talent around here, and you can sample virtually all of it without leaving the Persimmons premises. These things regularly sell out, so reserve your tables in advance, folks.”
Larry Luttinger, CNY Jazz founder
For more information on the CNY Jazz series at Timber Banks in Syracuse, click here.
Bert McCracken is most known for his two decades in The Used. By his 40th birthday, he jumped into a new genre, creating his own wave. Soon, he’ll be performing under his solo project robbietheused on a short cross-country tour from Oct. 30 – Nov. 6, with one of his key stops in New York City.
This tour follows the release of McCracken’s latest singles, “The Feels” and “Just a Little Bit,” which have garnered praise from fans. Therefore, Bert can share his new technique and lifestyle with his fans.
The solo project’s genre vastly contrasts from his work with his band, allowing Bert to shape his own comfort zone where he wants. Through the creation process, McCracken explained how he and his long time producer, John Feldmann would have coherent conversations, including about his mental health.
“My solo project has been a lot about rebirth and a way to reconnect with my childhood love for pop music, so to be able to say that robbietheused is playing 5 LIVE SHOWS and gets the opportunity to sing these songs in a room with you guys is a dream come true I’m so fucking excited, nervous, grateful… Thanks for being here See you there, Love Robbie”
Because of this, he is able to put his present experiences in his music, allowing for complete immersion for both the creators and audience.
After navigating recent challenges, McCracken is branching out to come up with new creations. Meanwhile, innovating his work for new lyrics and melodies. So far with five shows on the calendar, Bert is one month away from doing what he does best.
Looking ahead Bert McCracken has teased a full album and more tour dates, aiming to spread messages of positivity and personal growth through his music.
