Recorded at Studio Litho in Seattle, Washington in December 2007. Produced, engineered and mixed by Matt Bayles. Mastered by Ed Brooks at RFI. Management: Cathy Pellow and Sargent House. Released on Suicide Squeeze Records.
- Mike Sullivan—Guitar
- Dave Turncrantz—Drums
- Brian Cook—Bass
- Morgan Henderson—Double bass
- Matt Bayles—Keyboards and organ
- Harper Lewis
Looking at my music collection, in light of listening to this CD, I realise that I have very few instrumental records: the most obvious being Joe Satriani and Steve Vai, Shutter and the occasional track from other albums. Perhaps I ought to make a compilation of all my instrumental tracks and report back with a list, as a comment. My point, though, is that I don’t have too many bands in my collection to compare this to.
I had two immediate thoughts when I first listened to this album. One was that I loved it; the second was that it reminded me of Shutter, Amplifier and Jesu. With comparisons like those how can you possibly go wrong?
One of the great things about progressive albums is that the songs are longer than most, so even though there are only six tracks on this LP it still clocks in at a very reasonable 43 minutes 23 seconds.
The album starts quietly, like a single note fluctuating in the darkness, joined by an arpeggio that weaves itself around the tone. It sounds like the dawn, like an album waking up. It’s quite beautiful. And then only two and half minutes after the main song has begun it ends. “Campaign” creeps up on you, wows you, and then disappears again into the darkness.
“Harper Lewis” opens with the kind of drum pattern and tone that makes me long to be a drummer. Joined after forty seconds my the kind of bass ‘bounce’ that takes me back to performing on stage with a few bands and why I loved, loved, loved playing the bass: a simple, understated but highly effective bass line.
The pace quickens on the title track “Station”. The distorted guitar riff about a minute in provides a metronomic wall of sound for the bass guitar to dance in and out of. This is a song that can’t fail to put a smile on my face every time I listen to it. But then just under five minutes into the song it begins to slow to be replaced forty seconds later by another theme. A palm-muted guitar picks out a new rhythm and melody.
If there was one song that most reminded me of Jesu it is the next one, “Verses”. A majestic bass line, legato guitar squeals that I presume have been teased out with an EBow, and then the most exquisite melody picked out on a clean guitar. Check out the unofficial video below, featuring video from NASA and the international space station.
“Youngblood” is a seven and a half minute exercise in arpeggios, chugging distorted guitars and… well, I love it. It has a subtle melody that sounds ‘sour’ in places.
Finally, “Xavii” begins with a picked melody that reminds me of a Steve Lawson track. The song is laid back and melancholic (or maybe I’m just projecting my own mood today) and very reminiscent of Shutter with its crystal clear guitar melody. It’s quite a beautiful song to close the album.
I had never heard of Russian Circles before. I had bumped them to the top of my list because I loved the name and I found the album cover intriguing, and I’m glad I did. This is definitely an album I will be playing again; a lot. And they are definitely a band I will be looking out for in the future. There really isn’t anything I can fault on this album, so I’m going to give them a full 10/10.
Review score: 100%