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After the release of 2007's Eidolon, Rishloo quickly became one of the most exciting bands I follow. I frequently found myself trying to temper my praise for the band and the 14 song accomplishment that is Eidolon. However, after months of repeated listening, the power of that album was undeniable: without question an all-time great. Naturally, expectations were uncomfortably high for their 2009 follow-up: Feathergun. How could this album possibly match the musical an lyrical majesty of its predecessor? So, again, I attempted to quell my expectations. After a little over a month of listening to Feathergun, I can say with relative certainty that it is not as great of an album as Eidolon; however, it's fucking brilliant (that part I am sure of).
All four members of the band improved upon their craft during the time between albums and the technical subtleties that riddle Feathergun are evidence of this growth. Guitarist, David Gillett, is developing a masterful proficiency of applying tasteful effects, and he has really honed the tone of his rig. This is best evidenced in songs such as "River of Glass," and "Downhill" where the sound he draws from his guitar punctuate the mood of the song in a dynamic manner. In addition, vocalist, Andrew Mailloux, has somehow made strides in his singing ability. I say, "somehow," because if you've heard Eidolon, particularly songs such as "Alchemy Alice" and "Shades," you would believe this to be impossible; however, he clearly has more control over his voice, as well as additional range. My only complaint of Eidolon was the manner in which the rhythm section was recorded. The bass and drums were frequently lost in the mix; however, Feathergun has rectified this mixing flaw and presents the band as a more cohesive unit. Andrew and David (vocalist and guitarist) are still the focal point and the major driving force behind the music; however, Jesse Smith's drumming comes through more prominently on this album. This is certainly a positive, because he brings some interesting playing to the reels (see "Feathergun in the Garden of the Sun" and "Weevil Bride").
One might ask, "If every member of the band has improved, how could this not be their best album?" That is a difficult question to answer with concrete verbiage. Feathergun feels more "grown-up" than its predecessors, but it doesn't quite reach the emotional highs and goose-bump-inducing intensity that Eidolon did. With that said there are moments on this album that are absolutely crippling.
The album seems to be broken into two parts. The first five songs focus on a strained relationship or challenged love. It traverses several highs and lows many of which can be witnessed in the most schizophrenic song on the album (perhaps any album), "Turning Sheep into Goats." The album then transitions during the eight-minute monster, "Downhill." This song takes the album from the narrow scope of a strained relationship and expands it to a struggle for one's country. The final five songs expand and develop this theme of war and political strife until the climatic closer, "Weevil Bride." It's quite a journey and certainly one to be witnessed again and again. I have created a medley that features snippets from each of the songs as they appear on the album, but this record deserves to be listened to in its entirety. I implore you to take this action and share with me in the excitement surrounding this budding, independent, genius band.
