Russian Circles: Embracing a New Sound on Second Album

Photo by Noah Kalina

Dave Turncrantz, drummer for Chicago-based instrumental rock group Russian Circles speculates, “I think that Chicago has its own sound, because it gets so cold in the winter people get biter. Maybe it’s all the salt in the air.”

He is obviously at least half joking, but the facts are nothing to laugh at. Chicago has given an electric jolt to the blues, witnessed the birth of house music, and acted as a cornerstone of the blossoming independent music industry of the 80s and 90s. Today, Chicago plays a prominent role in nearly every popularized style of music in America. Chicago’s music lovers have nurtured some of the least conventional and most inspirational artists in the history of independent rock and created an environment where newer bands are encouraged to write their own rules, and then break them.

“Chicago’s a very close network of musicians. It’s very open, very supportive. People go to see each other’s bands, and have split bills together. There is no question of it helping to shape our music,” says guitars Mike Sullivan. Turncrantz adds, “There is no room for ego.”

Russian Circles are at the forefront of Chicago’s newest generation of musicians that deviate from the norm. After parting ways with bassist Colin DeKupier, they became a two-piece, although they continue to perform as a three-piece. Their recorded music is intense, dramatic, and at times a little intimidating, qualities that become even more pronounced in a live setting. The overwhelmingly positive response to both their debut album Enter (Flameshovel) and their emotive live performances has brought them into national consciousness. Anticipation for their upcoming release, Station (Suicide Squeeze) featuring These Arms Are Snakes’ Brian Cook on bass, is quickly mounting. Their blend of ethereal melodies with crushing heavy rock, has traversed boundaries between die hard fans of instrumental, progressive, post-rock, and metal genres and a growing audience enjoying these styles for the first time.

Sullivan and Turncrantz met in Missouri while still in high school. They both joined and later quit the same local punk band. Sullivan made the move to Chicago, partially for college, but also because, “All my favorite bands were from Chicago, so I moved up here to [using quote marks for sarcastic effect] ‘immerse myself in the scene.’ I was hoping to get something going up here.” He began playing in mathy instrumental outfit Dakota/Dakota with DeKupier. Back in St. Louis, Turncrantz drummed in punk-influenced rock group, Riddle of Steel.

After Dakota/Dakota broke up in 2004, the friends discovered a mutual desire to play music with a heavier sound. Sullivan drove to St. Louis for a practice session, and the two wrote parts for what would later become “Carpe,” first released on their 2005 self-titled, self-released EP and later as first track on their debut full-length, 2006’s Enter (Flameshovel). Turncrantz moved to Chicago, and after experimenting with instrumentation and lineups, they settled as a three piece, with DeKupier on bass guitar.

A few months after their first practice, the group released a self-titled EP and began touring the Midwest. They became known for their captivating live shows; Turncrantz’s unique drumming style and Sullivan’s fondness for finger tapping helped the group develop a reputation as highly skilled musicians. The band also drew attention for Sullivan’s use of a looping pedal, which at times makes the band sound more like an army of musicians than a three piece. Sullivan says that it lends itself well to communicating ideas and escaping the confines of genre, but also, “It’s kind of limiting in some ways. Once you loop something you can’t change, so the structure is very set and there’s not much room for improv within the riff itself. It’s the way DJs look at music; the part or the song will progress by adding parts and taking away, rather than changing individual notes within a passage.”