FEATHERGUN

From the first moment I heard Scissorlips on myspace I knew I would love Rishloo. What a voice! I always think that prog singers can come across as impersonal, a little separate from the music, where passion and true emotion can play second fiddle to design or concept; but this is breathtaking. The whole band work together to create an album of wonderful vocal driven music. Here you will find a rare and truly modern prog rock/metal album, and as far as I can tell this band has everything and should be known to music lovers throughout the world. The 2 week wait for the CD to arrive in the post from America was torture, but the following 2 weeks were spent blissfully absorbing every note.

The album hits the ground running with one of the heavier tracks, it is a level of heavy which is hard to find. They are compared to Tool because of vocal similarities, but what they have most in common is a level of beauty in music with no compromise. Nothing on this album sounds laboured or like it has been put in just to finish it (Apart from the song Diamond Eyes; what happened there? Someone took a wrong turn down sickly street, although the mid section is very good) This is melodic (pretty) metal with barrels of passion, some interesting rhythms, very good musicians who never seem to show off and a modern sound which makes them quite unique in this world of prog.

Standout tracks include Downhill and Feathergun in the Garden of the Sun but to be honest you would have to have quite a cynical view of the world to really criticise most of what is on offer. The album has been financed, promoted and distributed by the band and by all rights should bring them out of the shadows to show the world that once again Seattle has produced a brilliant band. Now I'm off to buy their first two albums.

This band was recommended to me as being a similar band to Tool, and thankfully I ended up with something completely different. Sure, the vocalist's voice OCCASIONALLY sounds a tad bit like Maynard Keenan, but it's pretty rare and their vocal styles are almost completely different from one another. As for the instrumentation, I'd be hard pressed to find any sort of Tool influence on this album, which is definitely a good thing.

Feathergun is a fantastic album, but I feel there are a few things preventing it from getting a full five stars in my book. There are a lot of interesting ideas on this album, but at times I can't help but feel like they're a little bit misguided in their direction. There are a few points throughout the album where flow is awkward or even broken. Also, there seems to be much more emphasis on vocals and guitar, whereas the bassist and drummer appear to take the back seat. It feels as though the rhythm section is "just there", and as such there aren't really any standout moments for either of them.

I would highly recommend this album despite its minor flaws. This is definitely a band I will be keeping my eye on in the future.

Standout tracks on this album include "Scissorlips", "Downhill", "Feathergun in the Garden of the Sun" and "Katsushika", though I don't feel like there's a single bad track on the whole album.

Rishloo are a fantastic and utterly underrated modern progressive band from Seattle. They mix pounding rhythmic buildups and vocally led alternative rock styles with progressive attitudes, effects laden guitar sections and virtuosic musical displays, all in a concise and grand manner coupled with particularly intelligent and evocative lyrics.

The band are perhaps most famous for Tool and A Perfect Circle comparisons, but there is a lot more to the band than simply homage to the unique and oft imitated talents of Maynard James Keenan, Adam Jones, Justin Chancellor and Danny Carey (although if you listen carefully, it is easy to pick up on just that; for each member and their specific tones and styles, especially because Rishloo feature rhythmic and emotive vocals that use of lot of long sustained shouts over musical transitions.)

While Rishloo write artistic and creative music suited to fans of progressive rock, the music falls more on the commercial and listenable alternative rock end of the prog spectrum than on the dense, challenging and difficult end. There aren't twenty-minute songs played at 30bpm full of drills, grotesque film samples and dissonant organs; just intelligent and interesting music written and performed by talent individuals.

I would urge anyone who is a fan of bands talented and focused like Dredg, Amplifier, The Mars Volta, Coheed And Cambria or The Dear Hunter to try out Rishloo and see if they suit you, chances are you will not be disappointed.

Feather Gun is the band's third full length studio album and sees an evolution and honing of the band's sound, moving away (apart from on the brilliant opener `Scissorlips') from easy Tool comparisons and further into a sound that is wholly Rishloo. Additionally, for a band who aren't particularly well known the production job and performances are absolutely sublime, the album sounds amazing and is a genuine delight to listen to.

For the most part the songs are shorter and lighter than on their second album Eidolon, but still more adventurous, powerful and progressive than on their debut album Terras Fames. Highlights include the faster `Systematomatic,' the cinematic `River Of Glass,' and the excellent mixture of light and shade that is `Turning Sheep Into Goats.'

In summary; Feather Gun is a brilliant record from a truly underrated band that fans of other modern progressive artists should really explore. All of their albums so far have been strong and Feather Gun is no exception, if you have any interest in Rishloo pick up a copy, you will not be anywhere close to disappointed.

This is an album labeled as "Crossover" while it is heavier and even more metallic than what "Crossover" connotes. There are some very clever guitar stylings and effects used herein. Vocalist "Drew" is quite talented and versatile. I find the unusual A-B-A- B-C-D and A-B-C-B-C-D song structures quite refreshing. Though there are weaknesses and areas that this band can improve, I do think this may be a modern day masterpiece of progressive music.

1. Sissorlips (6/10)
starts the album out with one of the, IMHO, weaker songs on the album. Some clever guitar plaing and effects, but the 80s REO SPEEDWAGON "Roll with the Changes" vocals sound a bit too familiar . . . and dated.

2. Turning Sheep Into Goats (9/10) contains some quite melodic guitar playing--not unlike U2's EDGE?with some nice STYX- like (Crystal Ball-Grand Illusion era) vocals plus harmonies. At 1:20 there is a shift to a MAYNARD JAMES KEENAN-style 'chorus', then quickly back to the A section; 2:40 chorus return of Maynard, this time sustained a bit before devolving into a beautiful echo-arpeggio guitar section to fade.
Great vocal.

3. Systematomatic (7/10) continues rather seamlessly from the previous song, but quickly develops into the heaviest, most metallic song on the album. At 2:08 there is a shift to an early 80s rock sound (QUEEN or CHEAP TRICK). At 3:00 there is a shift to a very dreamy, eery muted guitar and distant muted vocal section to fade.

4. River of Glass (8/10) is Rishloo's THE MARS VOLTA song. It starts with a beautiful yet ominous intro till 1:12 when the hard rockin music and great TMV-like vocal cut in. 2:35 sees a TMV shift into eerie floating guitar with vocals until the heavy instruments enter. At 4:10 there is another quiet "eye in the hurricane" spell before havoc is returned to end.
This one could've been extended to great effect. Amazing vocal performance!

5. Keyhole in the Sky (8/10) begins with a familiar CYNIC/RADIOHEAD guitar sound accompanied by another REO SPEEDWAGON-like vocal until the second verse when the vocal tones relax. This is one of those moments when you realize you are hearing a truly extraordinary singer--versatile, emotional, with excellent lyrical delivery. It's like the band has an extra instrument--and a virtuoso performing it, too. 4:00 sees a weird decay into spacey guitar and carnival keyboard with 'trumpet' soloing to end.


6. Downhill (8/10) begins with a touching, emotional guitar and, soon, equally plaintive voice, to 1:20 when the band joins
in with some odd AC/DC-like standard rock riffs. Then, equally weird, is the album's only appearance of piano--here taking on an unaccompanied solo. Around 4:10 the band returns with a rather drastic shift as an awesome 3-note guitar arpeggio loops ad nauseum to the song's end (four minutes!) while the other instruments and vocals shift, develop and decay, morph all over the place over the top.

7. Feathergun in the Garden of the Sun (6/10)
begins with a 45-second JEFF BECK-like solo guitar intro. When the band enters it is with a TOOL/MAYNARD JAMES vengence. At 2:10 another guitar arpeggio loop appears--this one heavier. Drew's vocal final shows a weakness: in the higher registers. This song is just a bit too pointless--rage against the Shoegazers?--and a bit too sprawling and rambling.

8. Dreamcatcher (8/10) is a pretty little interlude of floating guitar chords.
ENO would like.

9. Diamond Eyes (9/10) begins with another catchy EDGE-like guitar arpeggio loop with near immediate singing. At 0:45 there is a shift to 1:08 when an ALCEST/MY BLODDY VALENTINE-like sliding guitar strum appears. At 2:50 a space-echo
guitar à la NEKTAR's ROYE ALBRIGHTON takes over--accompanied by a PINK FLOYD rolling bass line and some cymbol play. Joined by a tender, haunting vocal till 4:40 when it seems as if the band is trying to 'lift' the song into another, higher gear--to no avail--it's just a tease--until, finally, it all crescendos in the song's final 30 seconds. Awesome!!

10. Katsushika (10/10)
is an amazingly complexly constructed song--with a kind of DAVID BOWIE/THE BEATLES feel to it-- especially in terms of it's unpredictable melodic twists and turns. Keys and chords shift and change quite interestingly. U2/EDGE/ RADIOHEAD-like guitar play throughout. Incredible song. Great vocal.

11. Weevil Bride (6/10) is, IMHO, the weakest, most disjointed and uninspired song on the album. It starts off great?beautifully? like another THE MARS VOLTA song--but then it gets too heavy--and too meanderful--for its own good. Too DEVIN TOWNSENDish.

Some stunning music here--playful guitar and powerful vocal performances. THIS IS NOT "CROSSOVER" MUSIC!! I look forward to more from this band.

Man, this album is blowing my mind as I listen to it. It sounds like Circa Survive meets A Perfect Circle, and those are two of my favorite bands. The production is a tiny bit off but I think that may be my horrible speakers.

Vocals are great, never over-the-top and always impressive. The guitar playing has an ethereal quality to it and it's simply marvelous. The rhythm section does a really nice job with the various tempo changes; rather than being abrupt and stopping your musical trip...the rhythm section carries you carefully into this ethereal dreamscape. It's something else, and I don't even do drugs!

Some parts are slightly metal, but don't let that turn you off. It's just a tiny bit heavier than Rush at their heaviest. Some parts are straightforward rock yet they manage to keep that surreal quality. I truly think this album just must be heard because this band has to be supported. There is so much they can do.

The tracks themselves are great and standouts would be Turning Sheep, River of Glass, and Katsushika. But this album has a great flow to it. I need to analyze the lyrics now, that's the only part I'll come back to in my review. Otherwise, there is a lot of beauty to be found here in the post-apocalyptic guitar playing style. Just check it out and enjoy.

Rishloo's 2009 album is an acerbic and hard-hitting one. The vocalist has a mostly astringent and gravelly voice that can be uncomfortable in the higher registers. When the band becomes loud and aggressive, which is frequently, it can be off-putting; indeed, it becomes downright tiring by the third or fourth track. There are a couple of redeeming songs, namely "Diamond Eyes" and "Feathergun in the Garden of the Sun." This album may appeal to fans of heavy, assertive music, but it mostly isn't for me.

"Sissorlips" The opening song is a mostly boisterous affair, but also relaxed in some places. The lead guitar has a tone not unlike that of Omar Rodriguez-Lopez of The Mars Volta.

"Turning Sheep Into Goats" Clear electric guitar offers an intriguing passage rhythm an equally interesting vocal melody. The growling and yelling during the heavier sections mar the piece.

"Systematomatic" The previous track leads directly into this one, which jumps around from one shouted section to the next.

"River of Glass" This more bombastic piece continues the sonic aggression, and the vocals stay in a shrill, shouted angry mood throughout, except for about twelve seconds near the end.

"Keyhole in the Sky" Fortunately, Rishloo backs off the loudness in favor of a lighter, gentler rock song, even if it is a forgettable performance. The vocalist is content to remain excessive and piercing in places, however. The closing section is an odd bit of electro-pop.

"Downhill" This first of two extended pieces begins peacefully with bright, pretty guitar and a thankfully pleasant vocal performance. When it picks up, the lead guitar is somewhat disharmonious, but I enjoy the variety exhibited by the rhythm section here. The album's best guitar solo appears at the end, nearly marred by more caterwauling.

"Feathergun in the Garden of the Sun" With volume-swells, slide guitar, and delay, the introduction to this song is one of the best moments on the album. The addition of the distorted guitar distracts from what could have added a layer of dynamics to this harsh collection of songs. That said, it's one of the more memorable tracks.

"Dreamcatcher" This fifty-four second interlude is a hushed, atmospheric piece.

"Diamond Eyes" I quite enjoy this dredg-like lighter rock song, which eases up and offers a lifting melody throughout.

"Katsushika" One more subdued piece, "Katsushika" (a constituent of Tokyo, Japan) has more bright guitars and a solid rather than painful vocal delivery. It builds in typical post-rock fashion.

"Weevil Bride" Returning to the heavy rock music and screeching vocals, this last song is not as unpleasant as a lot of the material early on the album. The middle passage is quiet and almost unnoticeable. The last several minutes of the album strangely consist of a single instrument playing light, echoing chords.

"Feathergun" is a great progressive album from the underrated bad Rishloo. Yes, underrated pretty sadly, this band deserves more listeners, many people don't know this amazing band yet, but I really think it will be a matter of time till the band gets its good spot! Rishloo stands out from any other band due to its unique and strong vocals, going along with a great melodic sounding from the rest of the band, its heavy at times which really goes well with this band. The vocals are for the most part compared to Tool (my favorite band) at parts of some songs, which I can confirm, but both bands are completly different from each other and so are the vocal tune of each singer. Although "Eidolon" was a very good album, in my opinion Rishloo had a way better approach on the progressive world with "Feathergun", you can clearly see that they evolved a lot more with this album. Great and more mature sounding, smart music and overall good solid album. Highlights: "Turning sheeps into goats" , "Systematomatic" , "River of glass" , "Feathergun in the garden of the sun" , "Diamond Eyes"

Rating - 4 Stars: A excellent addition to any prog rock music collection.

Even though the good things I've said above about Rishloo and this album, "Feathergun" has its flaws and the main problem I have with the album is the prodution. I really wish it was a lot better sadly, I hope this one day will be fixed because this album totally deserves. That said, not all the tracks on this album are great aswell, but you're still up for a great album. Rishloo are a band with a lot of future and can do even better records, that I am sure, I really want to see what they'll put out in the future. A great modern prog album which I highly reccomend.

4/5 an excellent album from Rishloo, but with really bad transitions. Guitars are simple and catchy, good for the atmospheric, bass is groovy and the drums are satisfactory. Vocals are pure amazing.

Probably one of Rishloo's best works (and worst transitions). It is the perfect combination of metal and rock, with clean and mildly harsh vocals. It can be calm such as in Katushika and keyhole in the sky and intense like river of glass. But dreamcatcher and scissorlips are the worst transitions and opening songs I have heard in a while, and ruined this near perfect master crafted album. Nevertheless, prog enthusiasts should not skip this amazing album.