Russian Circles
Nine
Sargent House
It seems strange in 2026 to think that music once existed without vocals. In the Romantic period, melodies carried the listener on a journey; today, vocals are the foremost feature. And in an age of short attention spans and the next shiny thing, instrumental music arguably has a tougher time of it.
Yet, for veterans such as Russian Circles, this is their bread and butter. On their ninth studio effort, appropriately titled ‘Nine’, the band once again showcases its excellence in crafting thoughtful, introspective and spectacularly progressing post-metal with nary a vocal line audible. Across the album, each track unfolds as its own story: ‘Borehole’ opens in creepy dissonance and meditates on a singular lick for most of its run, before a brief bit of levity in the middle; ‘Meridian’ simmers with energy and intertwining melodies that add a layer of wistfulness; ‘Arletta’ follows as a hazy, acoustic-led interlude; and closer ‘Seventh Seal’ pummels the listener one last time.
Yet it is the album’s centrepiece, ‘Eluvial’ that really demonstrates the band’s majesty. Delicately opening with synthesisers, sounding like a precursor to some Blade Runner-esque sci-fi caper, it progresses and breathes out into melodic guitars soaked in delay before finally breaking out into an achingly beautiful cacophony. Its end, an ode to an earlier part but heavier, captures a sense of catharsis, like a frustrated scream followed by silence and acceptance. Eight minutes well spent.
With over twenty years under their belt, is Russian Circles’ brilliance at this point even surprising? As ‘Nine’ documents the trials and tribulations of life, you can ascribe any scenario or interpretation to each song – whatever your experiences of life so far, you will find a soundtrack to your stories here. A sublime album that rewards repeated listens and submission to the music. In doing so, it confirms the album’s central strength: its ability to tell stories without words.
https://www.facebook.com/russiancirclesmusic
Review By Lee Carter