Feathergun by Rishloo
(self-released)

Third album syndrome might be a little esoteric, but it's a very prominent fixture in music. This is usually the point where any artist or band has to make the choice between pushing themselves into the great unknown and away from their clear influences, or to remain rooted in one spot, doomed to be forever followed by the same die-hard fans but dismissed by an evolving market and critic community that justifiably denounces their subsequent work as 'unmoving'. With their newest release, Feathergun, Seattle locals Rishloo have made that critical leap forward in their development, and with it, have made the kind of music many of us have always expected them to.

The hybridity shown throughout Feathergun is remarkable. Though steeped in progressive rock, more aligned with the likes of Yes or Rush than their contemporaries, Rishloo dip their quill in the wells of glam, post-rock, and even a little cabaret to create a swirling mixture of sounds that never stay in one place long enough to feel tired or habitual. The band has wisely moved in the direction of dynamic instrumentation, dropping a lot of their earlier riffing for clear, expressive guitar work that proves you don't have to play power chords to sound powerful.

“The operatic moments of the CD might recall Queen at their most powerful, but it never sounds overworked to the point of camp and the energy of the songs becomes infectious.”

Vocalist Andrew Mailloux has acquired a lot more subtlety and reserved power since their sophomore Eidolon, where his voice took on an almost theatrical quality that made it difficult to take the whole thing seriously. Lyrically it may not be Kafka, but the delivery more than compensates. The operatic moments of the CD might recall Queen at their most powerful, but it never sounds overworked to the point of camp and the energy of the songs becomes infectious. The call and response, quiet-to-loud movement used on the album is reminiscent of Explosions in the Sky or Russian Circles.

Rishloo spend more time on this album with soundscapes and the environment of the sound and the instruments blend together beautifully to create a very rich and raw production (though the bass is considerably less noticeable than their last CD, sadly). The band had been dogged before with (not entirely off the mark) comparisons to their peers in prog-rockdom, but Feathergun shows a local band finally coming into their own confidently and with something to actually offer an independent scene in need of something a little over the top, and, frankly, rock without resorting to cliches and retro homages.

“...Rishloo have accomplished their third-album mission and Feathergun demonstrates a considerable leap forward from their previous material and a solid installment in the contemporary progressive rock scene...”

The one disappointment of the album is, unfortunately, the apparent center-piece, appropriately titled “Downhill.” Nothing in the song is placed well after the first section, and the piano is downright awkward and feels crow-barred in. And clocking in at over eight minutes, it's too little for too long.

While still allowing room for improvement, focus, and growth, Rishloo have accomplished their third-album mission and Feathergun demonstrates a considerable leap forward from their previous material and a solid installment in the contemporary progressive rock scene, a camp in dire need of the help and new ideas. It will be exciting to see Rishloo grow even further and expound on the principles they've sown this time around.


REVIEWED BY NEIL LEVENS
NEIL’S FAVORITE TRACKS: “Systematomatic” • “Keyhole in the Sky” • “Diamond Eyes”