Russian Circles Show Review // Westword 

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Sonically, Russian Circles, Eagles of Death Metal and Mastodon share little with one another. But Monday night at the Fillmore Auditorium, the three bands found common ground with a crowd of earnest, hungry music fans who greeted all three acts with enthusiasm

Chicago’s Russian Circles, the least well-known of the performers, opened with the strongest set. While compared to other instrumental acts like Red Sparowes and Explosions in the Sky, Russian Circles set themselves apart by composing abstract, dense and challenging pieces. As a three-piece, the burden of re-creating the group’s recorded sound live relies heavily on guitarist Mike Sullivan, who loops riffs through amps and pedals, creating texture, dynamics and volume generally reserved for bands with double Russian Circles’ members. Playing songs largely from 2016’s Guidance, Russian Circles played a tight and cohesive set, thanks in large part to the rhythm section – drummer Dave Turncrantz and bassist Brian Cook. Turncrantz, who always hits hard and accurately, sealed his reputation as one of the most talented and unique drummers playing heavy music.

Via Westword

Full list of Russian Circles dates here. 

Russian Circles Interview // The Seventh Hex 

With their sixth album ‘Guidance’, Russian Circles carry on in their quest to conjure multi-dimensional dramatic instrumental narratives and to scout out new textures from their respective instruments. Songs aren’t constructed out of highbrow concepts; they’re forged out of gut instinct and base emotional response. Every Russian Circles album has had its share of new sonic vistas, and ‘Guidance’ finds the band still searching out new sounds while continuing to play to the collective strengths of guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist Brian Cook… We talk to Brian Cook about sounding human, working within parameters and Brooklyn’s happy hour…

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Russian Circles interview // Going Off Track 

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All three members of Russian Circles: Mike Sullivan, Dave Turncrantz and occasional Going Off Track guest host Brian Cook came by the podcast while promoting their latest album “Guidance” for a rare group interview with Jonah. Of the course of our conversation we discuss their joke nu metal band called Gypsy Foot, why they don’t have microphones onstage (it has something to do with the fact that both of their video interviews have gotten them banned from magazines) and how as an instrumental band they go about naming their songs. “What one person might take away from the song might be totally different from the next person so normally it’s just acknowledgement of people and places that mean something to us as a band and we’re grateful for. It’s usually positive stuff that resonates with us that doesn’t say too much about anything at all,” Sullivan explains. We also discuss our mutual love for true crime television, why the band prefer writing music together in person as opposed to working online and Cook’s recent experience teaching a bass workshop at Berkelee College Of Music. Oh and if you were wondering if Russian Circles were planning on adding a saxophone player anytime soon, don’t count on it.

Photo: Paul Blau

(via Going Off Track)

The Thin Air // Interview with Russian Circles 

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By Will Murphy

Ahead of shows at Dublin’s Whelan’s on Wednesday, March 22 and Belfast’s Empire Music Hall the following night, Will Murphy speaks to Brian Cook, bassist with Chicago instrumental masters Russian Circles about touring, politics, their latest album, the ideal audience, the craft of songwriting and more.

Hi, Brian. How’s the road been treating you? The next few months look pretty exciting in terms of venues and nations, is there anywhere that you’re all particularly looking forward to? What will you be listening to stave off the monotony of touring?

Touring has been good. We took care of our headlining U.S. dates last fall, and we divided Europe into two tours this time around just because there were so many cities we wanted to hit. We did Scandinavia and Eastern Europe back in October and November, which was pretty exhausting, but overall a great experience. Sometimes you get so accustomed to hitting the same places over and over again that it becomes easy to take things for granted, then you wind up playing a few shows in Romania and it serves as a reminder that we’re very fortunate to be able to do what we do. Now we’re out doing Western Europe and the UK, which is very familiar territory for us. Not as much of an adventure, but rewarding to be back in cities where we have friends and know the lay of the land. In terms of music, I’ve sort of reverted back to the old school touring listening habits. It used to be that you’d go on tour with a half dozen cassettes or a small book of CDs, then the iPod made it so that you toured with your entire music library and you’d never listen to the same album twice on a six-week tour. Now I’m back to traveling with just a few albums on my phone. I’ve been listening to a lot of Sun City Girls, Fleetwood Mac’s Tusk, Michael Rother, and Lungfish on my headphones. There has also been more than a few spins of the new Power Trip, Oranssi Pazuzu, and Rotting Christ albums in the van.

I remember seeing you when you were last in Dublin. What struck me was how unwilling you were to rush anything. Everything took exactly as long as it was going to take. It was a really ballsy move, and I’m wondering has it ever backfired horribly?

The bigger problem is not allowing enough time. Mike and I have so many changes and adjustments we have to do between songs—different tunings, different guitars, different pedal settings, different Taurus settings—and we do it all while bridging the songs with interludes. Plus, there’s the whole thing of trying to squeeze in a swig of beer and a toweling down of the face between all of that. We used to tour with these auxiliary delay pedals at the end of our chain that served zero purpose other than to silently notifying the rest of the band that we were ready to go into the next song. If the red light on Mike’s delay pedal was on, we knew he was ready. Same for me. The only problem is that sometimes one of us would forget to turn it on, and we’d stand there waiting for nothing until the guilty party remembered to stomp on the pedal.

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