As I’ve noted before, I am new to these northern lands (Colorado, that is). I’ve seen the name Cervantes’
Masterpiece as the venue of various upcoming shows, and to be honest, I hear “masterpiece” and I
immediately think KC Masterpiece. Yes, that KC Masterpiece. The BBQ sauce. I guess BBQ sauce has
really made its mark on me over the years.
Anyway, needless to say I had never really made the connection that this place was anything other than
a portal to another dimension where bands exclusively paid tribute to the nuances between Texas and
Carolina BBQ techniques and all basted themselves endless in tangy, smoky jams.
But when I saw that Russian Circles and Chelsea Wolfe were teaming up for a co-headlining bill at the
aforementioned venue, I realized I’d get the chance to see what this place was all about.
Short version – Cervantes is not a BBQ joint, but I did get myself roasted by the slow-burn rumble and
grate of two of Sargent House’s most formidable acts. Longer version – Cervantes’ is the dive bar
equivalent of a theater, perfectly combining the dirge and come-as-you-are attitude of your local
forgotten watering hole and the lighting, sound, security, and professionalism you’d expect at snazzier
venues. It’s fucking great. Weird, dark, and no pretention.
Ok, ok, enough about the venue.
Russian Circles took opening duties, staring off with Deficit, and working their way across their catalogue
of post-metal, expertly weaving the airy ethereal sections into surging, bottomless depths that
audiences never seem to see coming. This was the second time this year that Denver has been graced
with their presence and the because of the lack of openers, the band had the time to let feedback and
sonic-leftovers of each track bounce around the concrete bomb shelter that is Cervantes. That is not to
say the sound was poor – not at all. Another side effect of no openers – a longer setlist. Bands like
Russian Circles don’t have “hits” (praise Satan) but you wouldn’t know it by the way the fans reacted to
each new track, particularly as the set hit the chugging of Vorel and swerved into Mota. The set was
capped with what now seems like an obvious closer, but it was never the less a surprise to me as
Chelsea Wolfe emerged to sing her haunting vocals over the title track from Russian Circle’s 2013 album
Memorial.
After a breakdown and rebuild of lighting setups, Chelsea Wolfe re-emerged, this time with her band,
creeping easily into the shadows with the cavernous tick/tock of Pain is Beauty before moving into
newer, heavier material off of 2017’s Hiss Spun. The grinding sludge of the track Spun seemed to level
the crowd, the front row looking somewhat dazed, unsure if they should lurch lusciously along or just
stare hollowly and happily straight on. Chelsea Wolfe’s songs are challenging to the listener – it’s not all
beauty. Just when you think a song will lift you up, a grating dissonant scratch will emerge. A gorgeous
ghoul of sound that haunts and hurts as much as it may seem it’s going to sooth. All of this was executed
live with impressive precision.
And as I made for the exit and removed my trusty ear protection and felt the cool air of Colorado fall on
the approach, I pondered an excellent night of ambient, somber beauty comingled with weighty, stoic
despair. And BBQ.
Russian Circles Sept 29, 2018, Cervantes’ Masterpiece Ballroom, Denver, CO Setlist
Deficit, Geneva, Afrika, Harper Lewis, 1777, 309, Vorel, Mota, Youngblood, Memorial (with Chelsea Wolfe)
Russian Circles is on tour through Nov 23. Tour dates and band info at russiancirclesband.com
All photos by Josef Bachmeier.