Russian Circles live in Sydney – review and photos
Russian Circles performed at Sydney’s Metro Theatre, with Meniscus and Tangled Thoughts Of Leaving, and we sent Brendan Delavere along to check it all out:
Post rock Sundays is my new favourite thing. Though tonight is destined to be a late finish, the Metro on George St, Sydney was slowly filling for US post rock titans Russian Circles.
Sydney trio Meniscus opened proceedings with their expansive soundscapes and striking visuals. Taking full advantage of the brand new LED screen, the ebb and flow of their symphonies scoring the swirling visuals of the stage sized screen. Verging on two decades of existence, the trio layer us with waves of ambience and electronica, culminating in crashing crescendos and demolishing heavy bass.
It’s been several years between drinks for this reviewer and West Aussies Tangled Thoughts Of Leaving. The four piece that fills the room before us is not the same sound I remember from previous outings, new record Oscillating Forest is a blend of prog and free jazz, aggressive yet subdued when necessary, expansive and beautiful.
Sounds of the west Australian bush, electronic noise and piano interspersed with bombastic bursts of improvised riffing. With drummer Gracie Smith, contorting in rage with every beating of the kit, and pianist Ron Pollard facing from each side of the stage, Paul Briggs and bassist Luke Pollard cut striking figures centre stage, twisting with the free flow of the ever changing lights and snaking rhythms, not your typical post rock band.
Chicago trio Russian Circles, last gracing our shores in 2019, are back for this, their fifth tour of Australia, with new record Gnosis in tow. We caught the trio at Arctangent Fest in 2023, the review can be found elsewhere on this site, and like then, Russian Circles are sonically a sight to behold. As the slowly building notes of Ghosts On High resonated around the expanse of the theatre, the band drove straight into the galloping riffs of Station, faster we ride, punters on the barrier headbanging ferociously. The only breaks between this 90 minute set would see is the opening expanse as each song set about its world building, Harper Lewis with its fuzzy intro and rhythmic drumming building to its heavier mid section, slowing into the next track, Conduit.
It would continue like this for the entirety of the set, the rise and fall, like waves on a beach crashing and seeping away as each song consuming the room, few punters hollering between songs, others in simple awe. Naught a word was said on stage, the music doing all the talking. The sonic wall of noise of Betrayal and title track Gnosis further proof that they’re not out of ideas yet, some of their heaviest symphonies yet.
Rounding out the set with another from masterpiece Station, Youngblood with its synth like tapping elicited a roar from the crowd, the lighting rig shining pillars of white down on the stage. Bringing it all to a rousing close with Mlàdek, beautiful and eerie and heavy. I love post rock Sundays.
Words and pictures by Brendan Delavere.
