[Please note: Click play above to stream Moon Curse’s Spirit Remains in full. It’s out Nov. 28 on Kozmik Artifactz. Thanks to the band and label for letting me host the premiere. EDIT: Stream has since expired, replaced with Bandcamp player.]

When it comes to a record like Spirit Remains, one of the aspects easiest to appreciate is its honesty. Milwaukee trio Moon Curse make their intentions as plain and up-front as they possibly can over the course of their sophomore outing’s five tracks/42 minutes: They want to pummel and they want to do it with riffs. The three-piece of guitarist/vocalist Matt Leece, bassist/vocalist Rochelle Nason and drummer/synth-specialist Keith Stendler (as of this post, Matt Presutti, who also designed the Spirit Remains cover, may join/has joined as a second guitarist, but they are a trio on the record) issued their self-titled debut in 2012 and sold through multiple pressings both independent and through Kozmik Artifactz, which also stands behind the follow-up. Both full-lengths share largely the same mission, but Moon Curse clearly took some lessons from their debut, and these songs find them sounding massive, professional and confident in their ability to complete the task at hand, and though it has stretches that slow to an absolute crawl like that preceding the galloping finale of closer “Witches Handbook,” there’s more nuance to their approach than it might at first seem.

That fact shows itself in the vocal arrangements between Leece and Nason on “Vicious Sky,” the layered soloing on the preceding side-B opener “Lord of Memories/Spirit Remains,” the added psychedelic flourish that the tambura of Andrew Shelp (Moss Folk) lends to “Electric Veins” or even the marching pace that opener “Beneath the Waves” sets and the spaciousness of its riffing and leads. Yes, Moon Curse want to cave your head in, and with the help of the recording/mixing job Nolan Treolo does (Tony Reed mastered), they just might get there, but while heft is at the core of their purposes, it does not comprise the entirety thereof. Rather, while their nod and grooving largesse definitely puts them in the post-Sleep riff-led milieu, it’s the distinguishing elements of sonic personality throughout that provide the band’s most memorable impressions, whether that’s Leece howling upward from under the riffs of “Beneath the Waves” or the quick turns of chug in “Vicious Sky.”

As was the case when I was fortunate enough to see them play live in 2013, a major factor in driving home their plodding, stomping, running groove — whichever it might be at any given moment — is Stendler‘s drumming. At no point on the record is he putting on a clinic, technically-speaking, but from the first ride hits in the quiet intro of “Beneath the Waves” through to the rampaging toms at the apex conclusion of “Witches Handbook,” he is persistently in the right place at the right time to bolster the work of Leece and Nason and make the most of the material at hand. The album breaks into two sides, though not evenly, and both offer rolling or driving rhythms, and the fullness of sound that a seemingly persistent wash of cymbals provides is never too far from the forefront of the album’s heavier moments. Still, it is the riffs in the lead, and that is true even as “Beneath the Waves” breaks from its initial rollout to a section of layered psychedelic leads, backed by Nason‘s resonant bass tone on an extended instrumental excursion marked out by minor-key twists tossed in before the eventual return to the central verse riff and the echoing shouts that cut through it.

The aforementioned tambura does much to flesh out “Electric Veins,” but a slower tempo overall adds to the spaciousness as well, and shows immediate breadth coming after “Beneath the Waves,” even if it does return to a lumber more consistent with the opener before breaking into a subdued section of crashes and watery vocals that one just knows is setting up something huge. The drums pick up their pace on returning and push past a halfway point into a short but engaging solo and the eventual return of the verse for another cycle through, trading between Om, Sleep and High on Fire influences before finding itself in a more distinct solo section and the consuming cap of its near-11-minute span and that of side A as a whole. It is a finish worthy of the weight preceding.

Its march takes a little longer to unfold, but there’s plenty of room for a hypnotic intro in the 11:26 runtime of side B opener “Lord of Memories/Spirit Remains,” which ultimately lands on a janga-janga riff for its central figure, Nason and Leece coming together on vocals as it marches past its midsection at a not-at-all hurried clip and into the already-noted solo section, which is followed by howling and crashes that finish out before what one presumes is the split between the first and second parts of its title. “Spirit Remains,” then, comprises the last two minutes of the track in a subdued acoustic break topped with quiet psychedelic vocals, wind sounds or manipulated amp noise taking hold near the end as a ringing bell marks the transition into the feedback-soaked opening of “Vicious Sky,” which is the shortest song on Spirit Remains at 5:03 and a chugging riff that gets married with some post-Baroness shouts to engrossing effect.

Perhaps the most encouraging portion of the track is toward its finish, however, when the drums, guitars, bass and vocals all align to move into a section of washing leads and repeated nod for about the last 50 seconds or so. It seems to bring the various sides of Moon Curse‘s approach together in a way that, if it went on for another two minutes, I wouldn’t argue, but one can only fit so much on a single platter. A direct bleed brings about the quiet but tense beginning of “Witches Handbook,” which bursts open shortly after the two-minute mark for a drawling verse and goes on to recede and swell again before shifting into the galloping ending section, a touch of Morricone thrown in for good measure as Stendler‘s snare matches step with the guitar, which closes out on a solo and relative lack of fanfare as if to tease a sequel already in the making. Given the three years it took for Spirit Remains to surface after Moon Curse, I wouldn’t be surprised if one is, but either way, what the band accomplishes across these tracks is worth more than a passing glance en route to the next thing. The converted will have a deeper appreciation for its preachings, but Spirit Remains gets its point across one way or another.

Moon Curse on Thee Facebooks

Moon Curse on Bandcamp

Moon Curse at Kozmik Artifactz

It hasn’t been long at all since the dates were announced for the Up in Smoke Roadfestival Vol. 6, which will feature Greenleaf, My Sleeping Karma and Mammoth Mammoth. Less than a month, actually. And now word comes through that Up in Smoke Vol. 7 will follow almost immediately thereafter, one installment of the package tour ending on Feb. 27 and the other picking up on March 1 and running through the bulk of the month, with Belzebong, Mars Red Sky and Stoned Jesus on the bill. Maybe Sound of Liberation, the booking agency presenting the shows, is just going to set up a year-long series of tours, have the next one start when the tour is over. Wouldn’t really surprise me — there are certainly enough bands around Europe to make it happen — and maybe if they keep it going long enough, SoL will eventually bring their game to the US. Just a thought.

For now, this is a show I’d love to see:

MARCH 2016 will see the next round of the beloved UP IN SMOKE ROADFESTIVAL and be sure… this one will kick ass!!

VOL.7 will feature Ukrainian heavy rockers STONED JESUS (presenting the re-release of their 2011 “Stormy Monday EP”), French fuzzcrafters MARS RED SKY (celebrating their new album to be released on February 26th) and weedian Polish five-piece BELZEBONG (touring their current album “Greenferno”).

All of them are now considered as references in the underground stoner rock scene, respectively crafting a fuzzed-out straightforward heavy rock, thick infectious grooves and melodic aerial guitar riffs all wrapped up in ethereal vocals, or even a powerful, bluesy riffs which straddle sludge and doom.

It’s gonna be a fun damn time leaving nothing but an intoxicating white smoke behind!

UP in SMOKE ROADFESTIVAL VOL. 7:
01/03 LEIPZIG (DE) Werk 2
02/03 HAMBURG (DE) Hafenklang
03/03 BRUSSELS (BE) VK
04/03 PARIS (FR) Le Divan Du Monde
05/03 ROTTERDAM (NL) Baroeg
06/03 BERLIN (DE) Lido
07/03 COLOGNE (DE) Underground
08/03 STUTTGART (DE) Universum
09/03 LINZ (A) Stadtwerstatt
10/03 VIENNA (A) Arena
11/03 LJUBLJANA (SL) Kino Šiška
12/03 MUNICH (DE) Under The Black Moon Festival
13/03 INNSBRUCK (A) PMK
14/03 LAUSANNE (CH) Le Romandie
15/03 PRATTELN (CH) Z7
16/03 WIESBADEN (DE) Schlachthof
17/03 ARLON (BE) L’Entrepôt
18/03 EINDHOVEN (NL) Tuchthuis
19/03 HANNOVER (DE) Faust

More info here:
https://www.facebook.com/events/1219599248054173/
https://www.facebook.com/Sound-of-Liberation-UG-183095098426785/

Mars Red Sky, “Circles” official video

Mountain, Climbing! (1970)

The guitar playing is so paramount to Mountain‘s mega-classic 1970 debut, Climbing!, that I think sometimes Leslie West‘s string prowess trumps everything else, but while stellar, it’s far from all the record has to offer. Both West and bassist Felix Pappalardi shine as vocalists, and in addition to the cowbell overdose on “Mississippi Queen” and “Never in My Life,” Corky Laing‘s drums swing so heavy throughout that sometimes it seems a wonder they can move at all, let alone groove as voraciously as they do. From the organ-laced “Theme for an Imaginary Western” to the later acoustic semi-psychedelics of “The Laird,” Climbing! has versatility, poise and sonic and emotional heft. It is no coincidence that it came out in 1970 — a full 45 years ago as of this March — and so many groups went on to beef up their sound circa ’71 and ’72.

I won’t take away from the opener’s landmark status or the rhythm and blues at root in “Sittin’ on a Rainbow,” the subtle proto-prog of “Boys in the Band,” but I think for me the highlight of the album is “Silver Paper,” which gives a decidedly Northern take on a feel that Lynyrd Skynyrd would soon define exclusively as Southern rock, as it seems to draw together all sides of the record, Pappalardi and West trading off vocals, Laing doing much with a relatively straightforward drum progression, Steve Knight‘s hand bells and organ fleshing out the sound. That’s just as likely to change with any given mood though, Mountain positively nailing it as few acts ever have on their first record. Naturally that has its ups and downs as regards the entirety of a career, since while they called it Climbing!, they’d never — at least commercially, if not creatively — reach these heights again, though neither are their subsequent works or members’ contributions to outfits like West, Bruce and Laing (with Cream‘s Jack Bruce, who also wrote “Theme for an Imaginary Western”). An influence as enduring as Mountain has had doesn’t come from just one record, even a monster like this one.

Something of a given in the sphere of heavy rock, it’s an oversight that I haven’t closed out a week with Climbing! before. Actually, I thought I had until I went back and couldn’t find it, so there you go. I don’t imagine that this will be the first time hearing it for many who read this, but as an excuse to revisit it on a Friday afternoon — maybe you’re thinking about a kickass weekend coming up or even just not being at work for a couple days — I thought we could all do a lot worse.

As always, I hope you enjoy.

—

I didn’t get the chance to say it last week, but rest in peace Phil “Philthy Animal” Taylor. The former drummer of Motörhead‘s passing reminds us of the power that band wields and the generations-spanning effect they have had on rock and roll and heavy musics of all stripes. The work remains but Taylor will be missed.

—

So, this post, or at least the above portion of it, was originally slated to go up last Friday evening, written in Philadelphia, to which I had flown from my work trip in Chicago on Thursday night. Obviously the attack in Paris superseded that and just about everything else. What a shitshow. Particularly as an American who was conscious when his country passed the Patriot Act late in Oct. 2001, it’s sad to see Europe closing its borders to refugees and to its neighbors, ending the Schengen Agreement, but panic is panic regardless of where it’s born. Now I’m hearing about hostages in Mali. Off to war, forever and always.

What were we talking about? Oh yeah, rock and roll.

Next week is a holiday here in the States, and I’ll be traveling to Connecticut and to New Jersey to see family, so I’m not sure how much posting I’ll be doing Thursday and Friday, but I’ll have a podcast up probably Wednesday in case I’m not the only one hitting the road. Monday and Tuesday I’ve also got reviews and full-album streams slated for Moon Curse and Tombstones, so there will be plenty to listen to one way or another.

Speaking of, if you didn’t check out the Kungens Män that went up today, the jams are right on and ripe for digging in. I was into it enough to chase down hosting it, so yeah.

I meant to mention it last week, but at this point I’m well into planning out the next Quarterly Review as well. I’ve got about six records slated for each of the five days when it will take place. I’m thinking maybe the week after Xmas for it, though that has it ending on New Year’s Day, and I don’t imagine too many people will really be interested in reading reviews. Maybe the first week in January? I’ll figure it out.

We’re almost getting on year-end list time too, and the readers poll. Dec. 1 is a Tuesday, so I’ll launch that then (with Slevin‘s always-appreciated assistance), and hopefully everyone will have the chance to chime in. I always get nervous with that kind of thing that nobody’s going to bother. Please bother.

Alright. I think that should do it.

Since I likely won’t get the chance to say so before the day actually comes, a very happy Thanksgiving if you’re here in the US. It’s based on a genocidal lie, but still nice to get everyone together. All the best to you and yours wherever you might be though. I hope you have a great and safe weekend, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

The self-titled debut 10″ EP from Chicago heavy ’10s boogie rockers Dead Feathers was originally due to be released by HeviSike Records in August, and I’d imagine that the delay in its coming out is probably owed to the same manufacturing holdups that just about every other imprint, band and record-pressing concern has been dealing with over the last year-plus. In any case, the songs have been streaming for a while now, and the platter itself is available to preorder from the label as of yesterday, in limited editions of gold and bone vinyl, different art between them and so on. They ship in January in time for a Jan. 15 official release date. Nothing like starting a New Year off with some groove.

Details go like this:

DEAD FEATHERS – EP [10″]

Ascend yourself into the blanketing incense smoke and celestial grooves that is Dead Feathers. Like the Night sky, this band is noting below a breath of fresh air. With melodic female Vocals and the Fuzz driven riffs you might as well be seeing the fortune teller herself when you see this band live. This band takes hold of you and does not let you go. Dead Feathers has shared the stage with countless Chicago bands and touring bands from all over North America alike. A group heavily influenced by rock bands of the 60’s and 70’s and the underground Psychedelic bands of today, They are currently in the process of recording their first full length album and playing in venues across Chicago.

Pre-Order from Thursday 19 November. Due to ship early January.

Debut EP by Chicago, IL psych rock five-piece Dead Feathers. Mastered by Welshman’s Pride.

This is a strictly limited edition numbered release of 500 copies.

– Deluxe Edition – £14
– 100 on GOLD vinyl
– screen printed alternate art print (designed by Adam Burke, Nightjar Illustration)
– exclusive Dead Feathers embroidered logo patch
– individually numbered record jacket

– Limited Edition – £9
– 400 on bone-white vinyl
– individually numbered record jacket

Expected release date: 15 January 2016

http://hevisike.bigcartel.com/product/dead-feathers
https://www.facebook.com/deadfeathers/
http://deadfeathersmusic.bandcamp.com/
http://facebook.com/hevisike

Dead Feathers, Dead Feathers (2016)

It’s been fun particularly over the last two years or so to really watch the two springtime Desertfests distinguish themselves as more bands are added to each lineup. Desertfest London and Desertfest Berlin 2016 will still share many bands between them, no doubt, but in seeing acts like Kaleidobolt and Desert Storm (who played London in 2015) join the roster for Berlin in 2016, alongside the newly announced Crowbar, Truckfighters and Egypt — each of whom will also play London — gradually the shape of the German fest itself becomes apparent, and likewise for its European counterpart.

To be perfectly honest, I wouldn’t mind ending up at either or, but there are some considerable arguments to be made in those steely owl eyes.

Here are the latest announcements:

Desertfest Berlin 2016 – TRUCKFIGHTERS, CROWBAR, EGYPT, DESERT STORM, KALEIDOBOLT added to the line-up!

We all love heavy music and rock concert. Needless to say that we were as shocked as everybody else about the horrible things which happened in Paris last Friday. Our thoughts and hearts are with all the people who lost family members and friends in that senseless attempt…

After such a terrible event , it´s not easy to switch back to “normal”… nevertheless we would like to announce a few more bands today for DESERTFEST BERLIN 2016. We are pleased to welcome Sweden’s phenomenal, bone-rattling godfathers of fuzz Truckfighters, New Orlean’s sludge titans Crowbar, North Dakota based doom/psychedelic/stoner Rock Pharaohs Egypt, Oxford based heavy stoner / blues metal riff hounds Desert Storm and Helsinki’s groovy 1970’s Classic/Hard Rockers Kaleidobolt.

These 5 acts join the first 8 bands previously announced Electric Wizard, Elder, Wo Fat, Monolord, Death Alley, Monomyth, Mothership and Somali Yacht Club. Happening from APRIL 28th to 30th, DESERTFEST BERLIN 2016 might be the trippiest experience of your life, so join us… take the ride and buy your ticket now! (tickets’ links below).

See you all in 162 days!

Regular HARD TICKETS or E-TICKETS can be purchased on our WEBSITE! Our ticketprices remain the same, that’s 85 Euros for all you newbies! But remember that we were sold out last time about 7 weeks ahead, and we think we may top that this year!

http://www.desertfest.de/
https://www.facebook.com/DesertfestBerlin

Truckfighters, Universe (2014)

[Please note: Click play above to hear the full album stream of Förnekaren by Kungens Män. Album is out Dec. 1 on Adansonia Records. Thanks to the label and band for letting me host the premiere.]

It is the first to be pressed to vinyl, but Förnekaren is upwards of the 15th or 16th full-length release by Stockholm-based jammers Kungens Män. If they’d been around for 20 years, that would still be impressive, but the band got together in 2012. Between Oct. 2013 and Sept. 2014, they released an album every month, and Förnekaren (released through Adansonia Records) is their third of 2015 behind April’s four-song Diskbänksockultism and January’s Kungens Män Spelar I Evighet. Amen.. It is a 2LP, mostly instrumental, comprised mostly of extended psychedelic jams, improvised at least in part and culminating in seven tracks/85 minutes of neo-krautrock immersion, rich in texture and almost universally hypnotic. Its lead-in with opener “Järnvägsdröm” transitions the listener between the waking world and Kungens Män‘s jammy realm, the vocals of guitarist Mikael Tuominen adding a Doors-style flair to what sets up the rest of the work’s mostly instrumental breadth.

Somewhere between Electric Moon or the Øresund Space Collective‘s jammy modus and the more plotted desert-prog style of Causa Sui, Kungens Män stake a claim in their own little slice of the cosmos, Tuominen joined throughout by guitarists Hans Hjelm and Björn Eriksson, bassist/graphic artist Magnus Öhrn, synthesist Peter Erikson and drummer Mattias Indy Pettersson as the band weaves their way through “Järnvägsdröm” and the title-track’s relative earthiness en route to the wholly-spaced fare of the 22-minute “Sista Ordets Krigsdans Genom Snickeriet,” which follows.

Pettersson‘s drumming is a foundational element throughout, as both the opener and quick-popping snare of the title-cut demonstrate, but on “Sista Ordets Krigsdans Genom Snickeriet,” it becomes even more apparent just how much is built on top of the laid back, steady percussion line. The song is not without movement between the interweavings of guitars and synth, and the bass, though deeper down in the mix, is pivotal as well, but it’s the drums that push the rest through the dreamy soundscape they’re creating as they go. A chugging undertone emerges as they pass the halfway point that becomes the bed for the fuzzy apex, but in the song’s fading finish, it’s only over when the drums stop. Kungens Män follow with “Krautespark,” which at 6:37 feels like an interlude in comparison, but no doubt that’s the idea. Öhrn‘s bass is more forward and more insistent and jazzy, as one might expect given the title, and the guitars add a touch of foreboding in their spacious overlaid noodling, a jazzy dissonance taking hold before they bring it together in the midsection only to have it turn jagged again by the finish, time more or less dissipating along the way.

“Krautespark” is the shortest track on Förnekaren and the only one under 10 minutes other than “Järnvägsdröm,” which comes close at 9:47, but though instrumental, it serves a similar function as the opener, launching the second LP with a relatively grounded offering leading to more extended kosmiche fare. The bass makes the transition to “Kringströdda Silverbestick” particularly smooth, but it’s the lead guitar that gradually comes to the fore on the 13-minute jam riding a funky rhythm to a first-half crescendo before the vibe breaks — the drums holding steady — and things get quiet and spacious, building up again somewhat before some obscure speech echoes and effects noise bring the piece to a close.

Side D finishes out Förnekaren with a pair of cuts both over 10 minutes, “Förensligandet I Det Egentliga Aspudden” and “Hur Ska Vi Stå?,” the former of which starts out slow and contemplative before introducing a more active rhythm shortly before the two-minute mark that sets it on its building, ethereal course. Both the drums and the guitar sound noticeably bigger, more open, but it’s the guitar which slowly comes to swallow up the rest of the elements, a wah-drenched buzzsaw lead arriving at 6:41 and carrying through to the end, a patient swirl behind full of motion that seems to send ripples upward to the surface of the song itself.

The jam fades, presumably before it comes apart, and “Hur Ska Vi Stå?” comes in with a sleek guitar line over steady marching snare, jabbing proggy rhythms intertwined and fits of synth that arrive early and don’t come again, but continue to loom as a threat among the more peaceful noodling and frenetic but not abrasive manipulations of what may or may not be bass. A quiet guitar solo kicks in after halfway through, but the drum beat (maybe electronic or programmed?) and the other noise refuse to give ground and ultimately the jam unfolds, the kick drum run through echoing effects and manipulated as the final piece to go. It’s a fair enough ending to a record that has for the most part avoided showing its audience what it sounds like when the wheels come off an instrumental conversation, but the simple truth is that if you’re listening and you’re not already entranced by what Kungens Män have done in the prior 83 minutes, the last two of “Hur Ska Vi Stå?” aren’t likely to make a difference one way or another. A subdued, moody undertone can be felt throughout the album, but the prevailing spirit is nonetheless calm, and while one doubts they’ll wait around too long to let it sink in, Förnekaren has a wide enough scope that, if they were so inclined, Kungens Män could easily rest on its laurels for a while.

Kungens Män on Bandcamp

Kungens Män on Thee Facebooks

Adansonia Records

As of the last I heard — by which I mean when I looked at their Thee Facebooks page just now — Swedish downer metallers Katatonia had finished tracking the drums for their upcoming 10th album. They’re in the studio now with none other than Karl Daniel Lidén, whose name should ring out owing to his work with the likes of Greenleaf and Dozer, going back to his time playing drums in the former act as well as Demon Cleaner circa the turn of the century. Lidén isn’t actually playing drums in Katatonia, as that duty has fallen to newcomer Daniel “Mojjo” Moilanen, but you can rest assured he’s made them sound fucking awesome, since that’s something that seems to be his specialty.

Next year will mark 15 since Katatonia issued Last Fair Deal Gone Down, a record that in many ways has set the tone for what they’ve done since. Just your little “time flies” tidbit for the day. Seems like Katatonia are also in the market for a second guitarist to work alongside Anders “Blakkheim” Nyström, who doubles in the deathly outfit Bloodbath.

Not-at-all current lineup photo and PR wire info follow:

KATATONIA ANNOUNCES NEW DRUMMER; ENTERS STUDIO TO BEGIN RECORDING NEW ALBUM

10th studio album due out next year on Peaceville

Swedish masters of melancholy, Katatonia, has confirmed details of its new band member, drummer Daniel ‘Mojjo’ Moilanen.

Vocalist Jonas Renkse recalled: “We first met Mojjo back in 2009 where his band at the time, Engel, had joined up with us and Paradise Lost on a U.K. tour and we soon realized we shared the same musical background and ideals. We stayed in touch over the years and when Daniel Liljekvist quit Katatonia in 2014 we decided to give Mojjo a call. He has now been with us for well over a year, so far only as a live member, but now is the time for him to join the Katatonia album cycle and most importantly – make his own impression on our new material. We can’t wait to see what this will lead to. Love him up!”

Mojjo added: “From 1993 via 2009 to 2014, from today and onward into future battles. I am thankful, delighted and proud to take part in the next phase of Katatonia and I am looking forward to the journey being as giving as it has been for the last 22 years.”

Along with Mojjo, Katatonia has entered Stockholm’s Studio Gröndahl with engineer Karl Daniel Lidén to commence the recording of its 10th album. The new album is due out in 2016 on Peaceville Records and follows up the 2012 Peaceville album Dead End Kings. More details on the band’s new album will be released in the coming weeks and months. Fans can look forward to updates from the studio on the official Katatonia Facebook page.

In addition, Katatonia has confirmed live shows for 2016. All announced dates can be seen below.

Stay tuned for more information on Katatonia.

Katatonia live…
2/04 – 2/08 – Fort Lauderdale, FL @ 70,000 Tons Of Metal Cruise
4/29 – Kopervik, Norway @ Karmoygeddon Festival
6/19 – Clisson, France @ Hellfest
7/03 – Helsinki, Finland @ Tuska Festival

www.katatonia.com
www.facebook.com/katatonia
https://twitter.com/KatatoniaBand
www.kscopemusic.com
www.peaceville.com
www.omerch.com
www.northernmusic.co.uk

Katatonia, Last Fair Day Gone Night, Live in 2013

Just a few nights ago, Danish riff-crunchers Rising played their first show in more than two years. Last time we heard from them was January 2014, when they’d begun the writing process for their third album as the follow-up to 2013’s Abominor (streamed here) and 2011’s To Solemn Ash (streamed here). More than a corresponding two years later, that album — yet untitled — will see release in Spring 2016 via Indisciplinarian.

A shifting lineup seems to have been the cause of the delay, but whatever it took to get them back to this point, Rising have some more gigs booked in Denmark this month and the album to look forward to in the New Year. I hope I get to stream it.

Details follow, from the PR wire:

RISING Completes Work On Third Album And Prepares For First Shows In Over Two Years

Danish metal four-piece, RISING, has completed their new and forthcoming third album to be released in April 2016, as the band gears up for their first shows in over two years.

Formed in 2008, RISING, at that time a trio, quickly gained praise in the metal scene with their first two DIY EPs, then going on to build momentum with their To Solemn Ash debut LP in 2011 and the follow-up Abominor in 2013. Following the recordings of Abominor, the trio dissolved, and as the sole remaining member guitarist Jacob Krogholt has since then rebuilt the band with original drummer Martin Niemann, bass player Bjarke Kofoed and singer Morten Grønnegaard.

The new RISING lineup entered the studio in August and September to record the band’s third album with producer Jacob Bredahl (By The Patient, The Kandidate, etc.), who also mixed the effort, while Brad Boatright (Nails, Converge, etc.) has overseen the mastering. The yet untitled album consists of ten songs, still undeniably RISING in its crushing heaviness, firm songwriting and intricate arrangements, while Grønnegaard with his more melodic vocals lends a more classic metal vibe to the band. The album will be released via Indisciplinarian in April and will be backed by touring in their native Denmark and abroad.

For now, RISING is preparing for four Danish shows in November, which marks the band’s first live appearances since May 2013. The shows will consist of primarily new material along with a couple of oldies. As the new album includes intricate guitar parts arranged for two guitarists, RISING will be joined at the shows by their good friend and guitarist extraordinaire Anders Bo Rasmussen, formerly of A Kid Herafter and Sygdom.

RISING Live 2015:
11/13/2015 Stengade – Copenhagen, DK w/ Galvano
11/27/2015 Radar – Aarhus, DK w/ By The Patient
11/28/2015 Ved Amagerbanen 9 – Copenhagen, DK w/ By The Patient
11/29/2015 Templet – Lyngby DK @ Black Christmas w/ Redwood Hill

RISING’s first three releases, the self-titled debut EP from 2009, the Legacy Of Wolves single from 2010 and the band’s debut album To Solemn Ash from 2011 are now also a part of the Indisciplinarian catalog and available digitally on all relevant platforms, with the first two DIY releases having only been available on Bandcamp until now. Digital orders can be placed via Bandcamp HERE and the physical formats are available via Indisiciplinarian’s webshop HERE. In the US, To Solemn Ash and Abominor are available via Earsplit Distro HERE.

http://www.rising.bandcamp.com
http://www.facebook.com/risingdk
http://www.indisciplinarian.com
http://www.facebook.com/indisciplinarian
http://www.indisciplinarian.bandcamp.com
http://www.earsplitdistro.com

Rising, Abominor (2013)