Some albums are difficult to review because they have fascinating contrasts and sometimes even paradoxes. I’ve been slow to cover the new Rioghan record Kept because there are things I like and things I don’t, and the album as a whole feels like it shouldn’t exist, but it does. The album released back on February 14th.
Rioghan is a Finnish artist who I’ve covered in the past. Her first album Different Kinds of Losses was a diverse and catchy, with certain tracks really sticking with me, such as “Summer”. The current lineup on this new record is Rioghan Darcy on vocals, Teemu Liekkala on guitar and keys, Tero Lukkonen on guitar, Antti Varjanne on bass, and Valtteri Revonkorpi on drums.
I feel that the style has changed somewhat. The first album was an alternative blend of various genres, but Kept leans heavily into progressive metal with extremely raw aspects, such as straining harsh vox. The album still feels like a singer-songwriter affair, though, which is why I said it feels like a paradox: it seems like the songs could have easily been written for a Euro-pop record, but instead it’s heavy and vicious. That fascinates me.
And I’ll be straight with you: the album has positive and negative elements. There are things I absolutely adore about it, and things that make me cringe. For the good things, I really like Rioghan’s melodic and sumptuous voice, her real bread and butter, if I’m being honest. She’s great at atmospheric and gracious melodies that really work, and the album follows her lead entirely. The keys, too, are fantastic, ranging from haunting synth to ambient melodies, and they play well with the riffs and rhythm section.
For the negatives, I’m just not a fan of Rioghan’s harsh vox—they sound more like she needs a glass of water, like she’s going to strain her vocal chords any minute. The weird thing, though, is that sometimes her harsh vox really work, but on this album she really leans into them at times when I feel she could have omitted them. Also, the album feels a little more “one-note” because the diversity of her debut is gone. This album is mostly heavy and raw, and that’s about it, save for a few more elegant portions.
Yet, I still find myself drawn to this record. Kept has ten tracks, and I’d say that the second half is by far the stronger of the two. That doesn’t mean the first half is bad, though. It opens with one of my favorites, actually, called “Dreams”; this piece feels quite progressive metal in tone and it is definitely sing-able—the groove will get you moving. I also really like “Skin”, a slowburning song with lots of atmospheric personality.
Of course, then there are tracks like “Edge”, which I honestly do not like. But that’s not the whole story. Rioghan really brings the harsh vox on this one, abrasively so, but the chorus is actually nice and spacey and good. So, half the song I really dislike, but half the song I love. The first half ends with the deliciously spacious “Distance”, another favorite for its subtle, rising heaviness that hits just right.
The second half is better. “Hopes” is the one off-script song, being something more akin to an acoustic folk ballad with strings and an encouraging tone. “Motion” is super catchy and groovy, and the synth solo near the end is superb, and “Here” is a pleasant romp that feels rather convincing. The album really delivers, though, with “Red” and its burning electronica, riffy character, and slow arc towards its climax—the harsh vox at the end really work for the context. “Grief” is a beautiful closer, mostly being vocals and piano, and it feels appropriately melancholy and forlorn.
Look, Rioghan’s new album Kept is rock solid, but it might take some time to appreciate. There are still aspects that don’t sit well with me, but I applaud her for making the music she wants and for pushing herself. This album has some towering highs, and they are worth your time and money.
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