Based in Athens, GA with connections to the Elephant 6 scene, The Rishis are built around the songwriting prowess of Sofie Lute and Ranjan Avasthi, with members of Neutral Milk Hotel, Olivia Tremor Control, and Elf Power contributing to the recordings, of which there are now two; their self-titled sophomore effort, with Mac McCaughan of Superchunk/Portastatic and Robert Schnieder of Apples in Stereo on board as guests, arrives February 21 through the combined forces of Cloud Recordings and the Primordial Void label. The Rishis’ sound is subtly psychedelic without ever abandoning song form, as a wide range of styles get integrated into the mix.
The Rishis debuted with August Moon in June of 2022, a full-bodied and confident set of psych-pop that set a high standard for what has now followed. The Rishis do fit into the Elephant 6 scheme of things, but not in a blatantly obvious way. They aren’t as edgy or out-there as Neutral Milk Hotel or Of Montreal, nor are they as overtly psychedelic an experience as Olivia Tremor Control.
Furthermore, The Rishis aren’t as relentlessly catchy as Robert Schnieder’s numerous bands, although “Coloring” does open their new LP with a bit of upbeat, almost sunshiny pop. Along the way, the song’s appeal gets boosted by a few strategic guitar maneuvers that are reminiscent of All Things Must Pass. And there is a horn that hints at the Ladybug Transistor, which is a nice touch.
“Miles” follows with some wistful strum pop augmented by a shaking tambourine, and then “Buffalo” slows the pace even more for a savvy blend of bowed strings, plucked banjo and vocal harmonies. If the presence of banjo nods toward country, “Ride” deepens the connection with pedal steel, though the strings and harmonies continue to solidify the psych underpinning that bonds the ten songs on this set into a cohesive whole.
“Nite” brings more strummy chime pop to the table, sweetly sung and with increasingly baroque, Mellotron-ish injections as it moves. Next is “Criminal Activity,” a buzzy rocker that acquires a brawny (stopping short of heavy) power-poppish swagger, and then, slowing it down again, “Robot Factory” keeps the focus on tough melodic rock with a gradually enlarging druggy fuzz hovering around the edges as Sofie takes the mic (as she did on August Moon).
The psych atmosphere rises considerably during “Dharamsala,” with its Eastern-infused swirl and glide, a scenario that extends into the album’s instrumental finale “Rishikesh,” although here the atmosphere is less devotional than it is in “Dharamsala.” In between these tracks sits “Stratosphere,” one more serving of unhurried strum pop with the addition of harmonica intensifying the ’60s feel.
There’s a hint of melancholy in “Stratosphere” and elsewhere on this album, a mood that’s appropriate to the moment, surely. But Lute and Avasthi have learned the lessons (perhaps indirectly, which is the best way) from such past masters as Todd Rundgren on how to dole out the downtrodden in measured doses. Akin to their debut, the latest record by The Rishis is no bum trip. Instead, it’s a slab of goodness lending respite in bad times.
GRADED ON A CURVE:
A-
