Article By: Clay Adamczyk

The simplest way to describe Russian Circles, the instrumental post-rock trio from Chicago, is that they’re epically outstanding. Guitarist Mike Sullivan must be a mathematical genius. His ability to weave textures of sound flawlessly, layer after layer, by use of a live-looping pedal, is mind-blowing. Constantly transitioning between the most beautiful of melodies to the heaviest of hell-raising chaos is like riding the high and low waves of an LCD trip – though listening to them on acid would most likely lead to a brain aneurysm. Sullivan’s complicated compositions only come together with Dave Turncrantz’s equally complicated drumming and Brian Cook’s bass lines that are so heavy, he should be writing Dopesmoker Vol. 2.

Now, having just released their followup to sophomore album, Station (Suicide Squeeze, 2008), Geneva (Suicide Squeeze, 2009) proves how solid this band really is.

Opening with a barrage of feedback, “Falcon,” sets the tone that Russian Circles have progressed even further by adding background strings, brass and “additional piano,” throughout the album. The feedback settles as the violin builds as the drums finally reveal themselves with all the drone and doom that they have mastered. Once that bass line hits half way into the title track, “Geneva,” the epic journey is on and there is no turning back. Tides shift and “Geneva” seemlessly merges into “Melee,” a symbolic calming of the storm with building brass and strings so fitting, they could have used an entire orchestra if they wanted to, but didn’t need to. “Malko” is a clear opening to side B of the record. It is the only time there is a gap between songs and is clearly intentional, taking into account flipping a vinyl version from one side to another. The ever-layering melody is perplexing not only in its intricacy, but it is both sweet-sounding and terribly heavy. That sweetness slowly takes a step backward, allowing Cook to transfer the song into the summoning of the riders of the apocalypse that it is. “Malko” could quite possibly be an ode to Ukrainian pianist/conductor, Nikolai Malko.

Each song on Geneva is as perplexing, stimulating and pleasing as any other. The total flow of both side A compared to side B is flawless and maybe both represent something bigger than just two sides of a perfect record. It’s no question that Russian Circles will leave its audience wanting more. Live, as on recording, the answer is yes, how could anyone not want more when every song is so jaw-dropping? That said, Gevena’s ending, a ten minute opus of sorts titled “Philos,” is absolutely satisfying. Originating from the Greek word love, “Philos,” would have been appropriate as an alternate album title and if the album has to end, then there was no better way.

Russian Circles will be performing at the Middle East Upstairs Dec. 2.