Russian Circles, Empros: ORD to AMS
Posted in Reviews on October 21st, 2011 by H.P. Taskmaster
For their fourth album, Empros (first directly for Sargent House), the instrumental three-piece Russian Circles returned to producer Brandon Curtis of The Secret Machines, who also helmed 2009’s Geneva. The reasons why are fairly obvious: What the Chicago outfit was able to accomplish with Geneva was their most formidable blend yet of ambience and post-metallic heft, and for the sheer sounds Curtis was able to capture from guitarist Mike Sullivan, bassist Brian Cook (also ex-Botch/These Arms are Snakes) and drummer Dave Turncrantz, their wanting to recreate at least that element of the Geneva experience is well justified. That said, Empros and Geneva are different enough albums that, even without vocals as the latest is – except for the psychedelic lullaby closer “Praise be Man” – it becomes clear Russian Circles approached the construction of these songs with something altogether heavier in mind. It’s not so much that their tones have changed, though right from opener “309,” there’s a lot riding on the sometimes Godfleshy and mechanized feel of Cook’s bass, but the way the material is put together. Where some of Geneva’s ambience was allowed to wander, the six tracks of Empros are less so, so that even when the heaviness breaks into a stretch of indie-infused airy atmospherics, loops and long-ringing tones, there’s a pointedness and direction to them.
Likewise, when Russian Circles do launch into one of the crunching parts through which they’ve helped innovate post-metal instrumentalism, they sound heavier than they ever have. Four albums in, they also know how to make that work to their advantage. Both “309” and “Mlàdek,” which follows, build to stunning apexes, the later propelled by a galloping riff worthy of YOB but played faster and still cut too short. The second track has a kind of pop drama in its earlier stretch, with Turncrantz setting an upbeat pace and playing well off Sullivan’s cues. The name reportedly comes from their bus driver on their European tour for Geneva, and it’s one of the most discernible structures on Empros, twice repeating a section cycle before launching into the build that comprises the aforementioned second half. A lot of what Russian Circles do on Empros will sound familiar to heads who’ve watched post-metal come of age, and while it probably won’t change too many minds who are either sick of the sound or bemoaning the inevitable sacrifice of crushing sonics that comes with ambience, Russian Circles have grown into a band who not only can manage both, but who helped bring the subgenre to what it is. I’d include the likes of Red Sparowes and fellow Chicagoans Pelican in this as well, the latter perhaps most of all, but Russian Circles have consistently managed to concoct solid matter from distant waves of sound. The added transitional elements they bring to Empros only show an increase in overall focus and maturity in how they think about their work on a larger scale.
I was kind of bummed when CD World on Rt. 46 in Totowa went out of business, and couldn’t have cared less when Coconuts right down the road did the same. As I stood in the FYE on Rt. 10 in East Hanover with the “LAST 3 DAYS!” sign outside and all the yellow “Going out of Business — Everything Must Go!” paraphernalia strewn about the place, I was appreciative of the fact that the indies, the Vintage Vinyls and Sound Exchanges, are still going. Who knows for how long.
influence, which adds pop flair, and at their most unhinged, they’re not quite as break-stuffy as Akimbo — who’ve more or less mastered the art of cerebral post-hardcore violence — but they’re not so terribly far off.
