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Russian Circles are proponents of the metallic side of post-rock where the peaks and roughs are the largest in the genre. They take up some of the same spaces as Mogwai, Tool, Isis and Najda but they never tend to ape or drift too close to any one of those progenitors.

Geneva is 7 tracks of instrumental mood and impending doom. The start of Fathom is a clear indication that things are going to be cloudy with the chance of a storm and it is only a matter of minutes before the thunder and hail start to dance. The track nicely develops as it rumbles along, taking in riffage and carrying minimal luggage. The title track lifts proceedings into more of a metal realm with Mike Sullivan’s chugging guitar and ringing, sustained notes. It is also the song that the drumming of Dave Turncrantz catches the ear. His style at its heaviest tumbles like the demolishing of a condemned tower block but he can also pleasure with intricate rhythms (Melee) and softer jazz shuffles (Philos). Turncrantz’s playing is a real highlight and the backbone of the album.

Diversity within the genre keeps the album interesting. They hit Sigur Ros glacial beauty on Philos, almost hardcore indie structure and melody on Malko and on Hexed All they approximate Mogwai at their most orchestral and soothing.

So much of this genre can drift off into wank and twiddly bombast but Russian Circles seem to have a grasp of what makes it such an engaging style of music. They generally avoid outstaying their welcome on any one theme or song and they know how to transition from quiet to loud without it becoming a competition to see how much you can surprise the listener. Though it doesn’t add anything new to those who have come before it, Geneva is a bruised and beautiful experience.