Release Date: October 25th, 2011
Russian Circles’ Empros begins as a cloud-dappled sunrise and ends in a thunderstorm punctuated by an onslaught of lightning that pierces midnight skies like javelins thrown down from the gods. And actually, each track follows a similar pattern: a slow build and an explosive, orgasmic conclusion, followed by a simmering, distorted, sonic dénouement. With the six lengthy excursions contained in Empros (only the concluding cut, “Praise Be Man,” clocks in at less than five minutes), Chicago’s “instrumetal” auteurs explore a full range of dynamics, from the meditative and ambient “Schiphol” to the guitars-in-a-blender rawk onslaught of “309.”
Surprisingly, “Mládek” actually begins downright U2-esque, with its Edge-like jangly guitar introduction (think “Where the Streets Have No Name”), but by the time it’s done, the sound is reminiscent of being chopped apart by a gigantic industrial exhaust fan. “Schiphol” starts by being meditative and ambient, but it quickly (if “after six minutes” can be considered quick) culminates in an orgasmic miasma of guitar shredding and monstrous drum propulsion. It resolves by constructing some leisurely spires of guitar feedback, and after a lovely refractory period, the song perfectly melds into the next adventurous excursion in “hammered by the gods” guitar rock. In other words, to understate things quite a bit, the electric guitar is rather key to the sound of Russian Circles.
On first listen, it’s no surprise that Brandon Curtis from Secret Machines produced this record, and Russian Circles can also be likened to their contemporaries such as fellow Chicagoans Disappears (although not as math-rocky), Austin’s Explosions in the Sky (although not as laid-back), Scotland’s Mogwai (although not as post-whatever) and Sacramento’s Hella. Hell, “Batu” even brings to mind the metal pounding of Tool (whom they’ve opened for in the past).
Likewise for “Schiphol,” which builds for three and a half minutes before kicking out the jams. In fact, if there’s one criticism of this record—with the exception of the kick-off cut “309,” which has a relatively brief introduction—all of the compositions seem to follow that silent then LOUD formula, punctuated at the end of each cut by the band trailing off into the nethersphere.
It would be nice to hear Russian Circles stop a cut on a dime from time to time, without fading out, and likewise it would be cool to hear them begin with the pedal to the metal more often.
The only track with vocals is “Praise Be Man,” the concluding cut, and given that, it’s hardly a surprise that it’s also their most Secret Machines-like. It starts slowly and quietly and vamps for almost three minutes before applying a thick layer of guitar sludge asphalt. But given that “Praise Be Man” is also the shortest track, compared with the other five compositions, it’s over too soon, despite the obligatory sonic settlement sinking in.
If all one had to go by were these six compositions, it would be clear that Russian Circles is one of those bands for which earplugs are a necessity if ever witnessing their live show. In addition, although the band has some antecedents with their sound, they are making music that stands on its own, and Empros is an engaging, compelling and propulsive listen from end to end.
Russian Circles – Empros Tracklist:
- “309”
- “Mládek”
- “Schipol”
- “Atackla”
- “Batu”
- “Praise Be Man”
