Russian Circles does something yearned for, but not completely expected, on their new record, Geneva. The Chicago three-piece made great choices that allowed them to write an entire album full of gripping music.
The instrumental band’s previous two efforts, 2008’s Station and 2006’s Enter, were enjoyable metal-based post-rock efforts. But the band’s third and latest LP, out today, brings the brute fierceness of its sound to the forefront with a necessary refinement.
Where Station meandered and Enter brought the riffs, Geneva shows an improvement in the band’s songwriting right off the bat. The tracks are well-crafted compositions complemented by a hard-rock mentality. While both Station and Enter rocked, they didn’t have as much compelling headbanging action as does Geneva, which pulls listeners in and doesn’t permit an exit.
The album is a great step forward for Russian Circles’ metal tendencies. The band played heavily within the confines of the post-rock genre on all its previous efforts, and it is great to see the group stepping out from the genre’s shadow. Fans have probably known about the brooding rock band inside Russian Circles and will most likely welcome the songs of greater complexity featured on Geneva.
“Hexed All” is the ballad of the album. It hearkens back to simpler post-rock more than any other song. The quiet tune is aided by delicate strings — an element well used on Geneva, adding depth to the guitarist-bassist-drummer trio.
“Melee” is another string-aided epic. The song is just about as anthem-like as a seven-plus-minute rock instrumental can get.
“Malko” is a high-energy arpeggio-boosted rocker that shows off each band member’s instrumental finesse. Drummer Dave Turncrantz bashes his kit with precision and purpose while Brian Cook’s rhythmic bass plays canvas to Mike Sullivan’s noisy guitar.
So much of post-rock gets bogged down in the atmospherics of it all, unwilling to be less static and more exploratory. While some bands manage to break the mold, others continue to plod along indifferent to the “rock” half of the genre’s name, such as one of the most popular groups, Explosions in the Sky. Russian Circles refuses to fit this mold. Geneva is an album that offers an enjoyable ride from start to finish.
Russian Circles is one of the few bands these days making instrumental rock exciting. Even the similar-minded, but altogether distinctive, metal-inclined instrumentalists in Pelican, who are also from Chicago, have some trouble keeping audiences awake. Intriguing enough to listen to on record, Pelican has proven to be something of snooze-fest live, while Russian Circles make interesting records and perform entrancing concerts.
The differences rest in the fact that Russian Circles don’t need 10 minutes to create an atmosphere and don’t need to riff endlessly for half an hour to transmit the feeling of their songs. Moody and mature, Geneva is the sound of a band that has evolved.
Geneva is compelling all the way through, a trait that sets it apart from the band’s previous works and the works of its peers. “Death Rides a Horse” off Enter is a great song, but the high only lasts so long. Geneva is a complete set, sewn together with the utmost care.
And that’s not meant to knock Russian Circles’ other albums — all are enchanting in their own way, if imperfect. Although Geneva is no modern classic, it should be the standard-bearer in the realm of post-rock that actually desires to rock.
If Enter was the gateway and Station a stop along the way, then Geneva is one heck of a final destination. But hopefully, Russian Circles still have more to showcase.
rhiggins@umdbk.com
RATING: 4 stars out of 5
