RISHLOO

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.

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.

Consisting of just eight tracks with no intros, outros or hidden bonuses, this is the bands most succinct and concise offering to date, but you can file that under fat-free and lean rather than skimping on extras.

Stylistically; if you haven't heard the band before, they are often compared to bands like Tool, A Perfect Circle, Coheed & Cambria, The Mars Volta, Porcupine Tree, Soen, Dredg, Fair To Midland, Jurojin, Cog, Karnivool, Circe, The Mayan Factor and others. No single comparison there really does justice to what you can actually expect, but if you understand the sort of common theme between all of those bands you can at least expect the right ballpark. On top of that, Rishloo are also constantly developing and evolving, and no two of their albums sound that much alike because they progress and change over time (while always retaining a certain core identity where you can still tell its them straight away) so even their own catalogue doesn't necessarily train you for what to expect here. This album is stylistically a million miles from their 2004 debut Terras Fames, but in a way that makes sense and feels logical.

In that spirit, Living As Ghosts With Buildings As Teeth is no simple retreading of their back catalogue, nor any attempt to sound like someone else. On this album Rishloo sound like nobody but Rishloo. Even the previous Tool comparisons bounce limply off this album like wooden arrows off a tank. Hints is all you get, the rest is new. This record sees the band mix things up even more and explore different sounds, textures and combinations. Drew tries out new voices and styles he hasn't used before, such as the deranged sounding heavy vocals in the middle of 'Winslow.' There are guitar styles a past fan wouldn't expect. Things that only came up once on a previous album are given more time.

The rhythms are more disjointed and jarring. There's even more playing in uncommon time signatures and switching between tempos; opener 'The Great Rain Beatle' is particularly jagged, its unhinged and yet hypnotic like some psychedelic nightmare and makes Mars Volta comparisons more understandable? its like the most jagged parts of 'Scissorlips' made into an entire song. So too is the jazzier single 'Landmines' in its heavier sections. Although that being said, towards the end from the guitar solo onwards that kicks into some beautiful, straightforward head-banging energy.

There are also more hints of classic '70s Progressive Rock here than there have been on previous albums, to the point where (deep and hidden) you get feelings of almost Tales Of Topographic Oceans era Yes sounds at some stages (such as the middle of 'Dark Charade'), and the intro to 'Salutations' reminds me a little of Pink Floyd's 'Hey You' and 'Don't Leave Me Now' updated through some Radiohead and Deftones filters. There's also five-second bursts of King Crimson influence all over the place in spidery Fripp-esque guitar runs crammed in there every now and again by the underrated Dave Gillet. None of it is overt though, its subtle, bubbling under the surface. Hints.

Its difficult to pick album highlights in such a well-crafted, concise and consistent body of work; 'Dark Charade' for example has THAT riff, and afterwards kicks off into an exciting build-up that feels like the sequel to 'Downhill' off of the previous record and 'Dead Rope Machine' is just so unique, its like every song has its own identity and something completely singular to offer. Gun-to-my-head I'd have to recommend that you check out 'Winslow' (which people who followed the whole Ghost Apparatus period might recognize) and 'Just A Ride' as your tester-songs to see whether or not you'd like the album. Jesse's drums on those two are particularly excellent. 'Just A Ride' is the absolute perfect ending to this roller-coaster of an album and features the defining lyrics of this whole saga. That said, the whole thing works so well as a single journey that I almost feel bad picking favourites.

There are some things you can always count on Rishloo for; Firstly ? interesting, poetic, provocative, intriguing lyrics. Secondly ? powerful, emotional, evocative vocal performances. There's also always interesting, spiraling, unexpected music that will defy initial expectations but feel 'right' once you're used to it. Furthermore you can count on a certain arty air of mystique and most of all, quality songwriting depth that means you never get sick of the tracks, they just get better and better with each listen. Considering all these aspects, this new album is no exception to the rule, no misstep and no weak one in the set. This album has it all; whimsy, brooding, passion, intensity, subtlety, power, aggression, chilled out moments, virtuosic moments and scaled-back serve-the-song-not-the-player moments. Its got a strong sense of diversity yet feels like one cohesive whole throughout and a single journey (or 'ride') from start to glorious finish.

If you are a fan of the band then you unquestionably need this satisfying grower of an album. That may be a bit of a redundant sentiment but it's the absolute truth; I know that if you are an existing fan of the band then you probably crowd funded The Ghost Apparatus or pre-ordered the record already and got rewarded with early access downloads, so recommending it to you seems like preaching to the choir? but if you haven't checked out the band yet, or were waiting for the reviews then by all means please do give this a chance. This album is just as good as their previous work and if you give it enough spins to reveal its subtleties and hidden depths you will be greatly rewarded.

Oh, and if you enjoy it make sure to go back and check out the rest of their records too!

Nevertheless, this angst-filled, love-lust, balled-inducing, fist-clenching, drunk-crazed genre has created many copycats to follow the likes of Nickelback and Breaking Benjamin, which in turn, creates a backward draft of outfits that desire to break away from the pack, to be unique and better at the same time. Uriah and Destrophy use brutal screams and breaks to blend with melodic passages and choruses, while The Veer Union, Eye Empire and Sigma A.D. prefer just a more brutal and brash approach instead of making every other track on their albums a love-struck ballad. There are even the more avant-garde and way out there bands such as Black Light Burns, whom incorporate elements of alt metal, punk, post-rock and even thrash metal into their unique blend of metal.

This, inevitably, leads to the dabbling of progressive rock, while some groups like Dredg have experimented with prog with their mainstream formula (selling out in the process), a newer wave of bands has arisen over the years on the coattails of Tool's cult underground success of alt metal and post-rock elements. Yet even these groups go their separate ways as well, as Fair to Midland incorporate elements of post-hardcore and indie music to their alt-metal, while Karnivool has (quite expertly, in my opinion) taken the direct successful formula of alt metal (heavy riffs, catchy phrases and choruses and quick and easy hooks to get attached to) and blended uncommon time signatures, while discretely disassembling the standard song structure into their own creation.

Then we get to Rishloo. This Seattle outfit has gone another step further by not worrying about catchiness or airplay on the radio and instead concentrated on the message of the song itself, breaking tradition with the standard ABABCB function of most popular alt metal songs. Yet you wouldn't really notice from a quick listen. "Freaks & Animals" begins in a very subtle manner, very Coheed & Cambria-ish to me, eventually brewing into a rage-filled fury at the chorus. It's not catchy at all, but it's a very unique recipe, and one that works as well. "El Empe" is a slow starter as well, yet it crescendos into a s***storm of swears and curses, but it doesn't even seem that much different from anything else these days. Even the following "Pandora" sounds just like a typical soft rock ballad, once again beginning with subtle arpeggios.

Perhaps the difference comes in the segue of tracks, the seamless flow into each. Maybe it just sounds like a manlier and heavier C&C. Who knows? But is it unique? Hell yeah. It's a unique take on alt metal. Many of the songs on this particular disc begin with that same guitar subtly, and it's really only to about halfway into the track that you get a really good whiff of anger and rage. However, don't go into this disc thinking you'll find the one big hit, their most popular song, because (trust me), you won't find it.

When I first gave this disc a chance, I couldn't find one song that stood out to me, which is why it's nigh impossible to review track-by-track. However, I decided (the next time I looked at the album) to listen to the entire album all the way through, and upon the disc's conclusion it made more sense. Although not every track segues into each other, it just sound better together. The more progressive, conceptual bands do it well. While many symphonic prog groups lay it all out in twenty minute leviathans, the newer wave of prog-tinged outfits prefer to lay it out through the entire album, such as Rishloo, The Mars Volta and Between The Buried And Me (hell, "Colors" was an hour long song divided into 8 or so tracks).

It sounds like a weird combination at first, and indeed, at second glance, it really is. I thought this would be a crappy record, I really did. Only did I realize the message of this album did I have a change of heart. Don't dig into this thinking you'll find some catchy fist- puncher to head-bang with your friends down at the bar; you ain't gonna find it here. Don't judge a book by it's cover; this is truly a heavy prog lover's disc right here.

"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.

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.

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.

Terras Frames is the band's debut full length studio album, released in 2004, and obviously being the debut of a relatively unknown band doesn't have the most amazing production job in the world, at least compared to their later work or the releases of bigger, richer bands.

Compared to the two releases which would follow it, Terra Fames is a lot more restrained and normal sounding both in terms of progressive moments and metal sounding moments; the band don't use as complicated structures or as many guitar effects or experimental tracks and generally write comparatively quite straight forward music throughout.

The album also doesn't flirt with heavy moments and screaming in the same way as those that followed it as a general rule, and while there are a few big moments such as on 'Seven Rings Left,' they don't have the same explosive power and ferocity as the biggest moments on their later work have.

Despite the fact that their later work took things much farther, and are some of the genuinely best and most exciting records out there, that does not in anyway mean that Terras Fames is in any way even approaching being a bad record. Tracks like the powerful 'The Water Is Fine,' with its impressive drumming, as well as the fabulous 'Illumination,' and the album closer 'Fames,' are well worth the time of any listener and illustrate the vast potential of the band even at this early stage in their career.

The band's very strong talent shines through on Terra Fames and the lyrics are just as perfectly formed and impressive as on all their later work. The record is very pleasant to play from beginning to end and nothing on it seems particularly weak or out of place, there are lots of interesting musical ideas on offer and impressive musicianship throughout. Anything from this record would sound great on a compilation or live set amongst their later work as importantly it all still feels like Rishloo.

Overall; Terras Fames is something you should definitely pick up once you are a fan of Rishloo, perhaps not the best choice for your first Rishloo album, but still absolutely worth trying. The only criticism one could fairly level at the record at all is that the albums that would follow are better, but that is more of a compliment in favor of those records rather than a problem with Terra Fames.

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.