Rishloo - Feathergun
Rating
RIYL
ToolFair to Midland
System of a Down
Dredg
Release Date
12/08/2009
Tracklist
1.Scissorlips2.Turning Sheep Into Goats
3.Systematomatic
4.River Of Glass
5.Keyhole In The Sky
6.Downhill
7.Feathergun In The Garden Of The
Sun
8.Dreamcatcher
9.Diamond Eyes
10.Katsushika
11.Weevil Bride
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It’s pretty remarkable that Rishloo are not touring the globe with a steady legion of cult fans. It’s not because the band is particularly radio friendly, and the music they make is not what’s “in” at the moment, but the Seattle, WA band has delivered exceptionally creative artistic progressive rock records for the better part of the past decade, garnering constant comparisons to luminaries Tool and Dredg. Rishloo make music on their own terms, remaining completely unsigned and totally independent. The quartet spent much of 2009 working on their third self-released full length album, Feathergun, a record that continues the forward moving evolution of the band. Rishloo are doing all they can as a band, releasing artistic visionary music one exceptional album at a time, but the time for them to venture out past the Pacific Northwest is long overdue. With the positive progression displayed on Feathergun, hopefully that time has arrived.
The ominous mood of Rishloo’s first two albums is quickly re-established on the opening “Scissorlips”. Their strengths haven’t changed in the years since Eidolon, as they have worked to sharpen the aspects that make them unique. Lead singer Andrew Mailloux delivers the spiritual aura the songs flourish on, belting out powerful, commanding, and darkly operatic vocals. The constant fight, ongoing since their debut album, to escape comparisons to Maynard James Keenan may be quickly approaching an end, as Mailloux continues to find his own voice. While the band’s vocals stand clear and present in the center of the mix, the experimental guitar work of David Gillett is the perfect accompaniment for the wandering melodies and winding song structures. Mailloux sings the hook of, “All we are is all we are… transcendental animals,” as Gillett slides up and down, screeching through a multitude of effects pedals and thick layering. “Turning Sheep Into Goats” offers a bit of a departure for the band, springing from the vocal department and the decidedly heavier delivery complete with full gut wrenching screams harmonized by guest vocalist John Beckman. The double tracked vocals work together with the gorgeous delay soaked guitars for a lush and bright resonance. “Systematomatic,” bursts with tight rhythmic grooves from Sean Rydquist and Jesse Smith just below the surface of the ever present vocal and guitar domination. The frantic vocal delivery bounces between angry rasps and apocalyptic wails of emotion. While more attention needs to be given to the rhythm section in the mix, Rishloo seem comfortable with their lopsided balance.
“River of Glass” opens with a sleepy creaking guitar propelled forward by the deep pummeling of the drums. Mailloux’s vocals soar between a low croon, scratchy howls, and an impressive falsetto sharing space with hypnotic riffs chugging around the shifting melodic structures. While the mastery of his voice is ever apparent, the mixing of the band as a whole could benefit from peeling the vocals back in line with the rest of the group. “Keyhole in the Sky” is a prime example of this, as the vocals sit so far in front of the band, attention is distracted from the gorgeous reverb saturated guitars. The song eventually breaks into a 1950’s noire type trance as the bass line flattens and rumbles through the haze for an outro that serves more as an interlude leading into the epic beauty of “Downhill”. Stunning orchestration fills the somber ambiance, including triumphant sounding pianos, and rarely seen wide open spaces for Gillett’s guitars to roam and expand. Building with intensity every inch of the way, the track showcases Rishloo’s best traits at their finest moments. Mailloux’s vocals seep into the music without overpowering the band, leaving room for complex rhythmic shifts and dazzling guitar solos ripe with multiple blistering effects. “Feathergun in the Garden of the Sun,” continues to allow the band generous time to expand and evolve in a less claustrophobic atmosphere than the beginning of the record. Smith stampedes through the spacious bridge with a double bass drum assault that leads into a truly mesmerizing psychedelic metal landscape.
“Diamond Eyes” shimmers with an optimistic tone as Mailloux sings the lifting chorus, “When diamond eyes light up the sky, I promise we can change the world”. Beautiful delayed guitars swirl throughout the track as Smith’s crisp cymbal work carries the invigorating rhythm section. Rishloo can use more songs that prominently feature their understated rhythm section, and this track proves they have what it takes. “Katsushika” is centered on the vocals, with the music serving nearly as a backdrop for the thought provoking lyricism. Album closer “Weevil Bride” has an awful lot going on in it, but works hard to never lose your attention amidst the chaos. The song’s movements are rapid and hectic, deserving of the time it takes to fully appreciate, and ultimately very rewarding after a decent amount of familiarity. Gillett offers one final blast of highly explosive riff filled carnage until the song eventually fades out into an elongated and serene outro.
Rishloo certainly have the musical chops to take them far into the hearts of many art/prog rock fans, and they have amassed themselves a decent following entirely from their own hard work. If the band desires to continue progressing into the well deserved next level, they are going to need the help of an independent label that can offer the band a means to tour nationwide and internationally. Delivering three exceedingly good albums since their inception, the future is wide open for Rishloo and opportunities should be set for the taking.
--Dan Goldin
Comments
Minnesota
I really need to find this album and give it a listen. I enjoyed their first two albums quite a bit.
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PA
I have a problem with this cd. Some of the songs are AMAZING...and two of the songs are HORRENDOUS. That bothers me a lot. "Keyhole in the Sky" is hair raising. It's gorgeous and powerful. "Diamond Eyes" is also fantastic. Then there's the 8 minutes of torture with "Downhill". Holy shit, what were they THINKING?! The song starts off alright actually...for the first minute or so.
I think it's sad that I would listen to this album all the time but just because two songs back to back are so bad in comparison to the rest of the CD that I will probably barely listen to it all.
Music Blog.
Depths blog. (my band)
Oklahoma
Wow... Dan described "Downhill" as epically beautiful and showcasing "Rishloo’s best traits at their finest moments," and Chris described it as "8 minutes of torture." I want to track this song down just to see who's right! Yay for polarizing music.
Minnesota
Stop yer whining, Chris, and go listen to the new Alesana CD. You know you <3 them.
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Senegal Africa
I like "Downhill" just because it is the least vocal focused song off the album i've heard so far where they let the music just kinda go. As you might tell his voice kinda wears on me after a few songs. but still good.
Listening to:
fuckin african mosques (Tang na bu baax)
West Haven, CT
I think the music here is pretty amusing but this guy shouldn't be allowed to sing.
The Cityscape Burns Brighter By The Hour.
PA
The last two comments I don't agree with at all. The only thing that makes "Downhill" listenable are his vocals. The guys voice is amazing. End of discussion.
Music Blog.
Depths blog. (my band)
Leeds, England
I've enjoyed all of Rishloo's albums so far. This is probably my least favourite, but it's still pretty good. They deffo have it in them to make a really great record, but only if they can move past the Tool-aping.
And is this a 2009 or 2010 release? I know the band shipped copies early in dec, but the Cd release show is at the end of the month, so...
Brooklyn, NY
it was officially released on 12/9/09
www.explodinginsound.com
Minnesota
This is really solid... might be my favorite release of theirs... need some more listens, though. They do need to strive a little more to carve out a niche their own. I still hear lots of influences coming through (Tool, Opus Dai, Dredg, etc.).
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