Even after 10 years of living here, the Montreal music scene continues to surprise me. There are some shows you expect to sell out that ultimately get downsized due to poor ticket sales. There are others where you think you’re the only one in the world who knows the band, but the show completely sells out. Chicago post-rock/metal trio Russian Circles unquestionably fall into the latter category; tonight’s show sold out around 6 WEEKS in advance, despite me not knowing a single other person who knows them. Montrealers, I salute your good taste!
It’s to the soundtrack of some kind of medieval monk chant that the band arrives on stage, and they begin with the sludgy bass intro of Station, before the song explodes into life, starting the set with kind of ferocity you would typically associate with a set closer. It’s borderline apocalyptic, and the first song didn’t even finish yet. Bassist Brian Cook hits the strings off the edge of the fretboard to set the scene for the brutal bassline of Geneva, which crashes to an abrupt conclusion on the same note in conjunction with guitarist Mike Sullivan and drummer Dave Turncrantz. The crowd, which appears to be approximately 2/3 metalhead, 1/3 band nerd, roars in approval immediately after, with thunderous applause. Afrika starts much more sedately, with a fairly quiet feedback intro, before stirring to life, and then the grunge riffs resume on Harper Lewis. 309 opens with more twinkly feedback before the handbrake is released from said juggernaut and it thunders around Sala Rossa, culminating in an almost tribal drum outro.
It’s the art of post-rock that music without lyrics can still express emotion and meaning. Everything to this point was heavy, aggressive, almost end-of-the-world in nature. At least, that’s my interpretation; without any lyrics, post-rock is largely up to the listener to figure out, so there’s really no wrong or right answer. However, on Ethel, it feels like the message changes, to one of hope, relief, optimism, almost Explosions In The Sky-esque in nature. It’s truly grandiose.
Vorel brings heavy back in a big way, with the bass rumbling so hard my face shakes, taking the set on a sinister turn. The crowd loves it; Mike has no microphone to acknowledge them verbally, so instead raises a fist in the air in appreciation of the reception (and does so a few times throughout the set).
Mota sees Brian make full use of the massive set of organ pedals to his left to mutate the sound of the distortion throughout, before trading bass for guitar on Deficit, which culminates in a huge head-bang around the room. Mlàdek, with its delicate piano intro, nods towards Explosions In The Sky once more, before building and building into a cataclysmic conclusion that is unmistakably Russian Circles in nature. One final fist in the air from Mike and the band leaves the stage for good after an intense hour and a quarter, bringing the curtain down on an absolutely storming return.
Setlist
Station
Geneva
Afrika
Harper Lewis
309
Ethel
Vorel
Mota
Deficit
Mlàdek
Review & photos – Simon Williams
