Russian Circles has detailed their upcoming full-length. The record is titled Empros and is due out October 25, 2011 via Sargent House; once out, it'll follow up 2009's Geneva. In the release, the band promises it to be their heaviest album to date (and without a hint of hyperbole):
"Empros picks up where the anthemic riffs and melodies of 2009′s Geneva left off and injects evermore slithering rhythms amid skull-crushing heft with all the visceral intensity of Godflesh, Swans and Neurosis. Put simply, Empros is Russian Circles' Master of Reality: a radical revision of both heavy and melody that is monolithic in its clarity and perfection. Or, like a lone surviving wooly beast emerging from a brutal winter's frost, Empros is the sound of a band shaking the ages from its shoulders with all the brutal force of a behemoth awakened."

At the end of 2014, Chicago trio Russian Circles celebrated the10-year anniversary of their first show. A decade is a long time for any band to persevere, let alone a band that mines the relatively unmarketable niche of protracted instrumental dirges. But whereas many bands on the louder end of the rock-based instrumental world are content to work within the confines of the crescendos and washed-out timbres laid out by their predecessors, Russian Circles persistently expand their creative boundaries by working with a wider swath of sounds and structures. In many ways, their last album Memorial was a fitting cap to that first decade; it was an elegy to the past, a token of remembrance to the aural explorations of the band’s formative years. It encompassed the many facets of the band’s catalog: harrowing gloom, cinematic majesty, primitive bludgeonings, bittersweet dexterity, and morose minimalism.
With their sixth album Guidance, Russian Circles carry on in their quest to conjure multi-dimensional dramatic instrumental narratives and to scout out new textures from their respective instruments. Songs aren’t constructed out of highbrow concepts; they’re forged out of gut instinct and base emotional response. Nor was the band—as is often the case with artists later in their career—interested in testing their fans’ patience or securing a new broader audience with a radical reinvention. Instead, Russian Circles use Guidance to continue examining the polarity of quiet and loud, complexity and simplicity, ugliness and beauty. Every Russian Circles album has had its share of new sonic vistas, and Guidance finds the band still searching out new sounds while continuing to play to the collective strengths of guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist Brian Cook. Starting with the meditative restraint of album opener “Asa”, Guidance sets off on a path of metallic savagery (“Vorel”, “Calla”), arpeggio tectonics (“Mota”), mercurial anthems (“Afrika”), somber segues (“Overboard”), and seismic Americana noir (“Lisboa”). With the help of engineer/co-producer Kurt Ballou and his God City Studio, Russian Circles were able to capture this broad tonal palette and wide array of emotional motifs into a cohesive journey through the tumultuous corners of human existence.
We often expect artists to fall into patterns and formulas, but for Russian Circles the creative method is still a mystery. Songs develop at their own pace. Inspiration comes from strange sources. If anything, the process of writing is every bit the enigma it was back when the band crafted their first song in 2004. Life itself is a struggle with the unknown and a search for meaning, and the creative process for Russian Circles has mirrored that pursuit. The radical dynamic shifts and straightforward production of Enter, the lockstep metallic attack and pensive comedowns of Station, the symphonic grandeur of Geneva, the grit and grime of Empros, and the oscillation between melancholy and wrath on Memorial were all incremental steps towards an ideal, and Guidance brings the band that much closer to that realization. In the interim between albums, a veteran handed off an envelope of war photos to the spouse of a band member. The photos depicted a man being led to his execution. There was no context for the traumatic scenes, no history, no background. Yet the dignity this anonymous figure exuded in his fatalistic march resonated with the band. Here was someone that knew his fate and marched boldly towards his destiny. The band used these photos for the Guidance album art, knowing that we all march towards our own conclusions, and we can only hope that we face our futures with the same honor and nobility. If the band’s fourth album Empros (Greek translation: Onward) was a statement of perseverance, Guidance became a statement of striding into the future undeterred by what lies ahead.
Guidance comes out August 5th on Sargent House. The album is available on vinyl and CD, as well in all standard digital formats.

Following the critical success of Tristeza's third full-length "A Colores", the group gathered in San Diego and Tijuana to put together this audio/visual release of new and exclusive songs. The nine brand new audio tracks on the CD finds Tristeza in an ambient haze rolling along dubbed out bass-lines and abstract compositions. The DVD contains a 30 minute handmade tour film exploring Tristeza's psychedelic vision based on lonely hours traveling across the U.S., Japan and Mexico. The DVD also contains a bonus video for "Stumble On Air" from the 'A Colores' full-length."

San Diego's instrumental post-rock quintet came together after playing in such seminal San Diego bands as The Locust, Crimson Curse, Swing Kids, and Gogogo Airheart among others. This is their third full-length since the release of their critically acclaimed debut "Spine & Sensory" in 2000. It has layers and textures akin to Boards Of Canada and Amon Tobin. Melodic and inventive, emotive and inspirational, the music sings so eloquently throughout, it is nothing less then revelatory. There's great hope and optimism present here; a sanguine feeling that permeates the whole album. A colorful journey beyond instrumental post-rock, delving into the darker realms of modern psychedelia.

Three-piece Jakob make deliciously expansive and frequently intense dissonant rock music, that given the right volume and listener's perception is quite spell bounding. 'Cale:Drew' is the trio's second full length album (but third release), expanding and further developing the spatial ideas explored on the critically acclaimed 'Subsets Of Sets' (nominated for ''Best Album" at the B-Net New Zealand Music 2002 Awards). Recorded with David Holmes and Jesse Booher in Wellington, early 2003 at The Church, guest appearances on the album include Jane Pierre - cello on 'Faye', Jesse Booher from Looma - guitar on ' Was Hidden' and Tristan Dingemans of HDU - guitar on 'Laburnum', this exceptional album is also beautifully packaged in a luscious 16 page hand-stitched book. This is a world class album, belonging in the home of any thinking indie/alternative rock fan. Very special and very recommended. Inertia. 2005.

"Eight years after an explorative post-rock storm that saw them tour the world, JAKOB are back. In an emerging swell, their forthcoming album Sines is a bold and splendorous return to the world stage after an extended pause. The album’s opening track Blind Them With Science erupts in into a cacophonous roar that, dare we say it, is worth the wait. Fans have waited for eight years for this record — with patience and passion, some believing that it might not ever arrive at all.
The long-awaited follow to 2006’s Solace has been equally as frustrating for the band, with multiple injuries impeding their progress and forcing the cancellation of a massive European tour in 2013. Injury and delay now a distant memory, New Zealand’s most formidable post-rock three-piece is now back in full swing and ready to bring their unmistakeable sonic texturing to their fans once more.
As on their previous three albums and two EPs, Sines is itself a force of nature, built upon lush, epic layers and deft movement; a journey that spits with menace and relapses into beauty in a fine return to form that will see old fans ecstatic and new generations of fans intrigued.
Sines is as much soundscape as rock-show — an echo of the expansive surroundings of the band’s native Hawke’s Bay, personifying rough seas and sweeping landscapes. Each element in the vigorous trio that comprises JAKOB is as essential to the wall-of-sound as its counterparts — Jeff Boyle’s lush and commanding guitar work spirals delicately before a wide explosion, the bass of Maurice Beckett growls and pulses like an electrical current, and the powerful surge of Jason Johnston’s drumming cascades between thunderous treatment, precise, driving beats and eerie silences.
An international effort recorded across oceans, between Auckland (Roundhead Studios) and Napier (Sister Lung Studios) with ISIS’ engineer Jono Gardner and Nick Blow, mixed by Jeff Boyle with pockets of guidance from the likes of long-time UK-based co-producer David Holmes, ISIS’ Aaron Harris, and Nick Blow, and mastered by Chris Chetland at Kog.
Born in the sleepy seaside town of Napier, Hawke’s Bay in 1998, JAKOB are a band of cult status here and internationally solidified as a post-rock outfit to be reckoned with, having toured Europe, the UK, Australasia and the US on the back of their last record. As their reputation continued to build they were twice personally invited to tour with American prog-rock heroes Tool throughout Australia and New Zealand, and toured along-side Damo Suzuki, frontman for seminal German psychedelic band Can.
A singular presence in New Zealand’s rock legacy and momentous figures on the international post-rock scene, comparisons to such timeless acts as Mogwai, Sonic Youth, Sigur Ros & ISIS continue. The sonic force that is JAKOB is alive once more, unbridled and ready to bring Sines to stereos and stages across the globe. Sines comes out October 21st on The Mylene Sheath."

Wess Meets West began in late 2005 and was created by Sam Stauff (The Morning After, My Holy Ghost, A Paper Tugboat). Initially, it was intended solely as an electronic music project supplemented by Sam on guitar. The project stayed this way until February 2008 when Sam recruited bass player Bryan Gottshall and drummer Jesse Vengrove, turning Wess Meets West into a live band. The band fused it's electronic roots with it's newly found live elements, bringing the music to a whole new level and finally allowing the music to be performed in a live setting.

Recorded by Port City Recording from August 2013 to January 2014 at:
Mercy College Studio A in Dobbs Ferry, NY
Riverworks Studios in Dobbs Ferry, NY
Port City Recording, Hastings-On-Hudson, NY
Black Cat Studios NY, White Plains, NY
Engineered by
Sam Stauff, Andy Porta with Jared Mirel and Mike Towndrow
Mixed and Mastered by Sam Stauff with Andy Porta
Sam Stauff - Guitar, Keys, Electronics, Percussion, Vocals
Nick Robinson - Guitar, Keys, Electronics, Vocals
Erick Alfisi - Bass, Percussion, Vocals
Andy Porta - Drums, Percussion, Vocals
Additional Drums on Is There Anything Else, Charles? by Steve LaCerra
Additional Keys on We Marvel At Man’s Machines and Moon Under Water by EJ Rios
Artwork & Layout by Nick Robinson
Many Hands Steer This Ship - Thank you
Richard Pelligrino, Jennell Stauff, Arthur and Linda Stauff and the entire Stauff family, Ellen Knudsen, Glenn Bliven, Danielle Arroyo, Phoebe Hunt, Michiel Considine, Jesse Vengrove, Bryan Gottshall, Phil Lustenader, Esther Alfisi, Vanessa Alfisi, Bev Robinson, Leo Robinson, Kai Robinson, Diana Salas, Porta/Fusco families, Tim Robbins, Andre Salazar, Seth Nicholson, Dennis Jones, Max Johl, Rob Peralta, Russ Langeloh, Bijan Naderi, Cody Zanard, Mercy College MTEC, Mark Nussbaum and Manic Productions, and you for listening, seeing us, and supporting us along the way.

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Viva México es nuestro tercer álbum de estudio. Grabado durante una residencia artística en Laboratorio Sensorial en Marzo de 2016 en la ciudad de Guadalajara.
Viva México is our third studio album. Recorded at an artistic residence in Laboratorio Sensorial in March 2016 in Guadalajara City.
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released April 20, 2017
Grabado en Laboratorio Sensorial y Mezclado en Grizzly Estudios con Jesús Neri. Masterizacion por Grey Market Masterin. Artwork creado por Oscar Borrego. Invitados especiales en Kin, Tesla Pox. Agradecimiento especial a Andres Aguilar por ser un importante impulsor del arte en México.
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El 21 de Enero de 2015 The Polar Dresm despidió su segundo álbum Kiev con un show en la presidencia de Zapopan y acompañados de la Orquesta Sinfónica Juvenil del Municipio, un acontecimiento muy importante para una banda de Rock de México.
On January 21th 2015, The Band Played the last concert of their second album Kiev with the Zapopan Symphonyc Orchestra, a big event for a Rock Band in Mexico.
Mezclado por The Polar Dream.
Masterizacion por Ulular Records.
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