Rioghan have gone from strength to strength in this follow up album to 2022’s Different Kinds of Losses, in more ways than one. The original trio, from Finland, has been beefed up with the addition of bassist Antti Varjanne and guitarist Tero Luukkonen. The new formation has also been liberally supported this time by guest musician and prolific prog-metaler Vikram Shankar on keyboards. The band seem to be aiming for more of a prog-metal sound here compared to the debut release, but it has also retained the unique stamp of Rioghan Darcy’s poetic and artistic leanings. The result is a punchy and explosive rock album with value-adding, Nordic, progressive and folk elements.
Lead singer Rioghan Darcy has a delicate and melodic voice but also the depth of range to allow her to fully deliver on the screaming technique characteristic of the more hardcore metal genres. The way that she switches between one and the other is disconcertingly seductive and dramatic, and places her very much at the heart of the band.
So there are definite signs of progression in the band’s sound, the song-writing has more variations in style, and is of a more consistently high standard this time round, but will this be enough to propel the band forward commercially? In a niche market that’s a difficult ask, and I still think there is more to come from the band so whilst this is really solid and well-produced album there is still some way to go for them to fully establish themselves on the scene. The live appearances that are beginning to get booked in this year in their home country will no doubt play a part in that process.
Having established the prog-metal ethos of the band, song-writer Rioghan Darcy is creatively adept at adding nuances and variations, and I’d actually like to start the review at the final track on the album, maybe just to prove a point. Grief is a stunningly beautiful lament, sung with heartfelt emotion (no screaming required) over a sparse piano and string arrangement. After what has gone before it stands out with its simplicity and stark splendour. Personally, I think this marks out Rioghan Darcy as a special talent, and the band as definitely one to watch.
Let us also dwell on track 6, Hopes, with strings again to the fore and an accordion solo to boot. This folky element is an innate part of the Darcy make-up and I am so glad that this proverbial baby hasn’t been thrown out with the epically djent bathwater. The balance across the album is maybe more skewed towards the shouty-side, but the delicate beauty in these particular musical arrangements stands out.
Rioghan have also given us something a bit different with their brand of electronic, almost ambient prog, featured on both Skin and Distance. Rioghan’s hushed and evocative vocalising is delivered over electronic percussion and synth effects to create a brooding, un-nerving atmosphere until fiery musical climaxes brings each episode of drama to a close.
And so, back to the beginning we go. Dreams opens with a suitable dreamy soundscape before the band kick in with a violent wall of sound. Soon we get into one of Rioghan Darcy’s trademark melodic verse/chorus combinations before a climax indicated by rapid fire drumming and some screaming. It’s an exciting, energetic and exhilarating start, all be it without providing any surprises.
Track 2 Hands shows the full power of the beefed-up band. In an exhilarating few minutes, the song encompasses all that is good about the bands knack of combining a melodic power-pop style with heavier elements, and Rioghan Darcy’s full vocal range effortlessly steers the juggernaut sound through its variations of intensity. Skipping passed the aforementioned Skin, track 4 Edge is aggressively delivered with the volume knobs turned to 11. All that this one is missing is a guitar or keyboard solo spot that could have provided a contrast to the wall of sound that dominates from start to finish.
Jumping to track 7, Motion, the band have allowed themselves six minutes to fully express a more progressive approach. Understated, spacey keyboard runs are low in the mix but help to lift the overall sound, imaginative bridge passages are used to create extra drama, and the final chorus is emphatic and glorious before the band play out a spectacular end section.
Track 8 is Here, a magnificent example of Rioghan’s trademark melodic power-pop, and whilst the track would have fitted in perfectly with the kind of song that is characteristic of the first album, the added weight of synth effects, keyboards and the extra guitar layering demonstrates the efforts the band is making to develop its sound. Next up is Red, another six minute plus epic. There is a more patient build up and more space in the musical arrangement this time, until the choral harmonic effects added to the vocal give way abruptly to screaming and the band launch, fittingly, into the heaviest of finales.
The combination of styles that the band have incorporated across this album and the way that individual songs have been constructed are a joy to me, but I can see that a record company marketeer may not be so enthusiastic. Is this rock, prog/metal, djent or progressive? It is all of those, to some extent, but the balance is perfectly pitched and Rioghan Darcy’s voice is the distinctive tie that binds it all together. This is a very impressive follow up to an excellent debut album and well-deserving of a listen, whichever rock genre floats your boat.
TRACK LISTING
01. Dreams (4:15)
02. Hands (4:34)
03. Skin (4:27)
04. Edge (4:27)
05. Distance (4:21)
06. Hopes (4:36)
07. Motion (6:43)
08. Here (4:58)
09. Red (7:13)
10. Grief (5:50)
Total Time – 52:28
MUSICIANS
Rioghan Darcy – Vocals
Teemu Liekkala – Guitar & Keyboards
Tero Luukkonen – Guitar
Antti Varjanne – Bass
Valtteri Revonkorpi – Drums
ADDITIONAL INFO
Record Label: Inverse Records
Country of Origin: Finland
Date of Release: 14th February 2025
LINKS
Rioghan – Website | Facebook | Bandcamp | YouTube | X | Instagram
