Russian Circles - Geneva reviews
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| Nme |
 Words: overrated. Just ask this Chicago trio (now with Botch/These Arms Are Snakes’ Brian Cook as permanent bassist), who can evoke sunbursts and starlight without a single lyric. And while the domineering post-metal they’re known for colours this third record in granite tones, it’s the squalling ‘Melee’, ‘Malko’’s desperate violence and the queasy menace of ‘When The Mountain Comes To Muhammad’ that confirm RC are more than just noisy bastards. What’s more, combined with the breaths of quiet beauty – the tinges of regal brass on ‘Philos’, the way ‘Hexed All’ feels like a note written on the sky that says ‘everything’s OK, man’ – ‘Geneva’ blossoms into an evocative, inspiring album....full text |
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| Sputnikmusic |
Russian Circles have never been a huge name in the post-rock/post-metal world. In a genre filled with many imitators and bands that seem untouchable, it is hard to stand out in the crowd. Russian Circles broke out onto the scene with a promising debut Enter. Enter didn't make waves in the music world, but it did show that Russian Circles was a band to look out for. Fusing together heavy riffs and undeniable talent, the Chicago trio had a lot going for them. On their sophomore release, Station, the band seemed to have taken two steps back when they ditched their technicality for a more traditional post-rock approach. Unfortunately, Station fell flat because of this, but it did show that the band was more than a one trick pony, and more importantly, they were more than willing to experiment with their sound. With fans on their feet anticipating the bands' latest release, Russian Circles unleashed their greatest album to date, Geneva.
Geneva goes above and beyond any expectations the fans may have had about the album. Russian Circles have taken their crushing riffs and unpredictable rhythms from Enter, and transfused them with the atmosphere and pastoral beauty of Station. It would be easy to compare the band to their peers in the post-rock and post-metal realms, but it wouldn't be fair to the band. While there are somber moments of beauty, reminiscent of Mono, and brutally heavy riffs that recall Pelican-- Russian Circles take everything they are good at and focus their talent and energy to put their unique twist on what you would typically think of as post-rock. Another factor is the size of the band. While many post-rock bands can have as many as twenty-something members (I'm looking at you Godspeed), or the more typical five members, Circles works as a trio. While it might be hard to imagine how a band whose goal is to craft epic compositions can be run with only three members, it may be the bands largest strength. Guitarist Mike Sullivan works like a classical composer, using various techniques to trigger certain emotions out of the listener. From spaced out guitar lines to distorted riffs, Sullivan is incredibly versatile. Drummer Dave Turncrantz is absolutely mind-blowing on Geneva. While Dave's drumming has always been a highlight of Russian Circles' music, on Geneva Dave outdoes himself. Solidifying himself as a permanent member, Brian Cook returns on bass guitar. With a resume of former bands such as Botch and These Arms Are Snakes, Cook is no stranger to music. While Cook only did session work on Circles' previous release, he has composed all of the low-end for [i]Geneva[i]. Also joining the band in certain places of the record is violinist Susan Voelz and cellist Allison Chesley, who do a great job of adding the orchestral feel to the album....full text |
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| Pastemagazine |
More than most bands saddled with the vague “post-rock” label, Russian Circles effectively pares down its sound to two basic elements: thunderous riffs and tight rhythms. No vocals obstruct its instrumental onslaught—which, on the band’s third album, Geneva, is mighty but repetitive. Each track traces the same loud/soft dynamic, which makes the songs both thematically cohesive and redundant.
The album picks up its pace with the aerodynamic “Malko,” the song’s forward motion giving the riffing some much-needed urgency. But the strings on 10-minute closer “Philos” sound staid and haughty—a pale version of Mogwai’s shapely excursions and Explosions In The Sky’s tender triumphalism. Guitarist Mike Sullivan makes the ’70s-metal influence obvious on churning opener “Fathom,” and the rhythm section of drummer Dave Turncrantz and bass player Brian Cook pound diligently, but there’s more artful noodling on Geneva than heavy crunch. Ultimately, Russian Circles pummel too politely....full text |
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