(Modern \ Progressive Metal \ Djent) [CD] Circles - Discography (Дискография) (2011-2018), 3 Releases, WavPack&FLAC(image+.cue), lossless

There’s a somewhat unfortunate tendency in some metal fans to regard music that is technically challenging to be somehow of more inherent artistic worth than simple verse-chorus-verse constructions, while at the same time dismissing anything more accessible or more melodic as somehow betraying a creative immaturity. In some quarters, for example, The Dillinger Escape Plan‘s evolution from the blast-beating whirlwind of mathematical technicality they were on Calculating Infinity to the comparitively melodic, occasionally – whisper it – ‘poppy’ material on their later albums caused some headscratching among fans of jazzy scalular runs who suddenly had to deal with the confusing reality of TDEP riffs they could actually hum. Likewise, the burgeoning ‘djent’ scene – named by famed polyrhythmicists Meshuggah after the distinctive tone of extended-range guitars being tightly palm-muted – has taken some flak, as the increased prevalence of high-pitched clean vocals and floaty, ambient melodies – as preferred by the likes of Tesseract and Periphery – has been recieved by some as a dilution of the mechanical, head-spinning bludgeon purveyed by the Swedish legends.
The Compass, the first mini-album/EP by Australian technical/progressive metallers Circles, is a powerfully confident statement that melodicism, accessibility and technicality can live side-by-side, and in this writer’s opinion, could well be the record that sees ‘djent’ – previously referred to by no other weighty tome than The Guardian as ‘the metal geek’s micro-genre’ – attract more widespread notice. The six tracks that make up The Compass manage to blend superior musicianship, a punchy, sparkling production, and honest-to-God songcraft that is intricate enough to satisfy the beat-counting tendencies of musos while deploying enough irresistably catchy melodies and hooks to create a genuinely anthemic feel amongst the technicality.
In large part, the element that makes Circles‘ blend of influences gel (those influences including Meshuggah‘s stuttering, rhythmic complexity, Faith No More‘s genre-hopping excursions into jazzier climes, and Pitchshifter‘s incorporation of drum-and-bass/dance loops, if I’m any judge) is the sterling work by exceptionally diverse vocalist Perry Kakiridas. The frontman has definitely studied his Patton (the Faith No More vocalist, not the tank commander), and as such proves himself as equally capable of throat-tearing roars and searing screams as he is of soaring clean passages that beg to be sung along to – see for instance second track, ‘Clouds Are Gathering’, which sees Kakiridas belting out an insanely infectious chorus over piano, glitchy hi-pass-filtered electronic drum beats and restrained synths almost immediately after sandpapering his vocal cords on a deathly growl that rises to a tortured screech.
The other musicians’ parts in the tapestry of Circles‘ sound shouldn’t be overlooked, either – guitarists Matty Clarke and Ted Furuhashi conjure riffage that ranges from the rhythmically staccato, yet groovy outro to ‘Clouds Are Gathering’ to the sudden burst of Allan Holdsworth-esque frenetic soloing that helps bring ‘Ruins’ to its climax, while still finding time for the restrained, chiming clean arpeggios that underpin ‘Act III”s peak-and-trough dynamics. Furuhashi also contributes an array of glitchy electro drum beats, and synths that themselves range from the hyper-modern, dancey pulses that accompany the opening of ‘Frontline’ to more majestic string patches that support and heighten the drama of choruses and refrains. Drew Patton’s basslines add weight to the more intense riffage, while drummer David Hunter handles both the more groove-centric beats and the more octopus-limbed, polyrhythmic passages with equal aplomb.
At this point, you might have noticed that there hasn’t really been a bad word said against The Compass – and it would normally be at this point that I’d pull out the Columbo-esque ‘just one more thing’ – but, in all honesty, I can’t really find a serious criticism of this record. It’s a breathtakingly accomplished debut, and one that ably shows that there’s no reason that technicality and wider accessibility can’t co-exist. Hugely recommended.
4.5/5 http://www.onemetal.com/2011/05/03/circles-the-compass/

There are times when an album reaches out through the speakers, grabs you and demands you pay attention. This is one of those times. After whetting our appetites with The Compass EP in 2011, the Aussie quintet Circles are back with their first full-length, Infinitas. To perhaps an even greater extent than The Compass, Infinitas is a sleek and bombastic combination of high-octane riffing and towering, hook-laden melodies. After the breathy introduction to album opener “Erased“, the energy levels barely drop for the entirety of the run-time.
As Circles are signed to Basick Records, it should probably be unsurprising that the band’s sound has a distinctly djenty flavour. The band marry staccato riffing, ‘Milton Cleans’ atmospherics and extended-range breakdowns with soaraway vocals. The net result places them almost exactly halfway on the sonic spectrum between TesseracT and Monuments, with elements of Faith No More and Sevendust thrown in for good measure.
Infinitas is infused with pop sensibilities which make the tracks so immediate that you may well be singing along with the final repetition of the chorus on the first listen. A number of the songs carry choruses big enough to be visible from space. But nevertheless, for all the melodious poppiness, the band can still pack a hefty punch when they choose to, and Infinitas is peppered with moments of meaty, lip-curling, down-tuned chug, and a number of particularly satisfying bass drops. All of this comes together with great effect on the one-two combo of “As It Is Above” and “So It Is Below“. The songs share a refrain, but one that is delivered in two markedly different ways, neatly showcasing the impressive range of vocalist Perry Kakridas.
It is also remarkable that Infinitas is a self-recorded effort, with guitarist Ted Furuhashi handling production duties. The recordings are rich and full, with the additional electronica bells and whistles sitting comfortably and sympathetically in the mix.
Somewhat peculiarly, whilst there isn’t really a weak track on the album, there isn’t really a stand-out one, either. This is no doubt testament to the overall quality of the release, but also speaks to the fact that the tracks all carry a very similar tempo and vibe. This lack of variety does mean the tracks somewhat blur into one another. However, this is a debut album, and delivers exactly what a debut album should – a strong, clear statement of intent. These tracks are sure to sound immense in the small venues that have been booked for their first UK tour, timed to coincide with this release.
Infinitas proves without question that melody and djent are not mutually exclusive, and that there is more to the genre than hyper-downtuned chug and string bends. Providing the band can spread their wings a little more on subsequent releases, there will be great things in store for Circles.
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It’s hard to remember, but Circles were once considered at the forefront of the tech-metal/djent explosion that took place around beginning of the decade. The band’s name was once frequently mentioned alongside the likes of Tesseract and Periphery. Yet, while they’ve remained a frequent feature on the Australian live circuit, the Melbournians have largely slipped from the wider consciousness in recent years. I’ve spoken before about the importance of momentum in a band’s trajectory, and it seems Circles are yet another band who’ve fallen victim to the line-up and label issues that have stunted the development of so many of their kind. The Last One is their first album in five years, as well as being their first since their debut full-length Infinitas (2014). It also sees the band returning to the fore featuring a substantially revamped roster; with relatively-new guitarist Ben Rechter taking over vocal duties from the departed Perry Kakridas. Where Circles have the edge over so many other bands who have faced similar setbacks, however, is in an outstandingly-crafted record that redefines the band’s sound, while also reigniting the enthusiasm they once enjoyed.
If djent hasn’t all but died out in the time since Circles released Infinatas, then it’s certainly settled down and become a more defined beast. Delivering a similar outing to their debut, or the earlier Compass EP (2011) would likely fail to drum up much excitement these days. Luckily for them (and us), Circles have pivoted their sound more toward the alt-prog sound once popularised by Karnivool and many of their countrymen—what I am choosing to call “Aus-prog”—which has lately seen somewhat of a resurgence, perhaps largely due to the hype drummed up in recent times by scene heavyweights Caligula’s Horse. What Circles are offering up on The Last One isn’t anywhere near as intricate or expansive as what the Brisbanites concocted with their last stellar release: last year’s much lauded In Contact (2017). Nevertheless, the broader melodiscism that defines that sound, combined with the heavy bottom-end carried over from their original direction make for a compellingly potent concoction.
Rechter’s voice is a perfect fit for this new direction. Although his voice is far more conventional than Kakridas‘s, his soothing, lower register aligns with and accentuates perfectly the more moody compositions of their latest release. Yet, for it’s notably more subdued direction, The Last One is also arguably the heaviest Circles record to date, or at least the one most pronounced in its heaviness. The opening distorted scream and open, low-end notes of “Breaker” are only the most pronounced of a pervasive heaviness that populates the entire record, and it’s final percussive break even goes so far as to bring to mind early Monuments. “Dream Sequence” is another chug-heavy offering which sees sees them combining the traditional kinetic djent bounce with a floater, Aus-prog atmosphere, and each track provides some welcome punctuation amid a record that might otherwise have run the risk of fading into the background.
The above judgement is based more upon what this kind of genre usually inspires, rather than what Circles offer throughout the rest of the record. Each of The Last One‘s 10 tracks both self-contained and wildly dynamic, and the record itself is perfectly sequenced to enable easy passage while navigating its many peaks and valleys. There hasn’t been a record in this style with as much immediate appeal as The Last One since Dead Letter Circus‘s debut This is the Warning (2010), and the added heaviness and intensity Circles bring to the table sets them apart as their own darker, more explosive unit. In many ways this latest Circles record is reminiscent of Tesseract’s recent fourth effort, Sonder. Both albums represent more streamlined and arguably simplified entries in their respective band’s discography. Yet, where Sonder impresses only in bouts, while failing to fully recapture the promise of that band’s earlier material, Circles’ latest constitutes and unprecedented high point in the quartet’s waning career, which once again suggests a brighter future ahead.
Circles seemed more or less done for in the lead up to this record. However, their second full-length effort sees them return to the fold as a much metamorphosed, though still wholly exuberant outfit. The Last One isn’t pushing any boundaries, but it occupies a space at the intersection of two over-saturated and often uninflected genres, while taking full, refreshing advantage of the appeals of each. The album prides itself on its immediacy, but there’s a complexity and gracefulness to the record that reveals itself over repeated listens, adding up to something ultimately undeniable.
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