FEATHERGUN

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.

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.