In the summer of 2023, Dutch metal band Rise of The Wood released the ‘Sleep’ EP, an excellent three tracker that signified their long overdue return, but also a rebirth. Their first new music in six years, ‘Sleep’ was also the first Rise release to feature vocalist Leo Gstrein. His confident tones immediately outshone any of the work on the band’s 2017 debut and the music sounded much better all round. This suggested that band’s decision to take time out to regroup had been more than beneficial.
2025’s ‘Discharge’ – a ten track album, and the first full Rise of the Wood LP in the better part of a decade – makes more than good on the promise of ‘Sleep’. A self explanatory ‘Intro’ fills a minute and a half with funereal doom riffs, signifying a genuine heaviness, before transitioning into a classic stoner/classic metal hybrid sound. This is merely a scene setter, of course, and ‘Eyes Wide Shut’ re-introduces the band properly by powering forth with a speed driven riff that takes the guts of stoner rock and gives them a massive shake. A deep toned wall of guitars dominates throughout, as the band tackles something that falls between Black Label Society and a John Garcia project peppered with a pinch of SOiL. When those riffs attack at full pelt, it’s Gstrein who appears at the forefront, chewing through his chosen lyrics with a natural force, but guitarists Jeff Teunissen and Ronald Boonstra play up a storm, and their concession to a faster style doesn’t ever weaken their heavy attack. If anyone deserves maximum credit here, though, it’s drummer Eric Stolze, who opens the number with some very heavy toms against a chopping rhythm guitar, but never lets up throughout a very hefty four minute workout, striking his snare with a huge amount of heft, but also dropping in occasional double bass pedals to lend more of a mechanical rhythm that works brilliantly against a strong vocal. This is classic metal with a slight 90s alternative flair, and between some tight playing, a gang vocal to boost a decent hook and a middle eight flaunting the kind of groove that John Bush era Anthrax would love, it’s easily this one of this album’s best tracks, and its position near the front of ‘Discharge’ helps create a strong first impression.
‘Skin’ takes an already familiar heavy sound, adds a touch of groove metal and a round of rough-hewn harmony vocals to weave an enormous arrangement. Hearing guitarists Jeff Teunissen and Ronald Boonstra in tandem, creating something that calls back to that period in 1991 when big haired bands toughened up – just before being swept away by grunge’s tidal wave – creates a sound that’s strong enough to sell the number on its own merits, but Gstrein’s presence remains strong, and the band’s rhythm section puts in more than enough hard yards. Most of the Rise sound calls back to the past in a really obvious way here, but that never stops the results being enjoyable. Slowing down, ‘Dead Man Walking’ employs more of a stoner chug at first, before dropping into a grungy verse where the more melodic aspects of Alice In Chains meet with the core of Days of The New. The heart of the music brings Dennis Davidse’s bass to the fore, and Gstrein uses the opportunity to employ more of a haunting vocal, but the chunky guitar sounds continue to provide a strong link with previous Rise of the Wood sounds. It may be slower and a lot moodier, and some of the backing vocals may show off a stonger affinity with melodic hardcore, but the heart of this arrangement is one of the band’s most natural to date.
During ‘Sleep’, Gstrein almost immediately introduces a bigger, much cleaner, tone that suggests more of a classic rock feel. The more accessible vocal hasn’t had an impact on the music as a whole, though, and this track wields a huge sound. The verse, pushing Gstrein into the spotlight, strikes a great balance between a rocky sound and huge wails in a way that almost immediately suggests the “new” Rise of The Wood means business. The mix of hard rock and slightly grungy overtones here is well balanced, showing a strong gift for arranging which really comes into its own on the chorus. Although the main hook itself is a simple one, Leo’s talent is big enough to sell it, whilst the guitars slide into a heavier style to suit. Overall, this sounds like a throwback to the late 90s, but with some great playing, fans of the style are likely to find themselves very much on board. For those who crave something heavier, ‘Underground’ kicks off with a thrash based riff, with Stolze really attacking his kit, before slipping into a melodic hardcore chug that sounds like the bastard son of mid 90s Anthrax. The track’s sharper edges work the whole band very effectively, but the contrast with a melodic vocal is really what seals the deal, and Gstrein is in great form throughout, whether powering a noisier voice, or using his pipes to soar against a slightly more melodic chorus riff. On a record that feels pretty much filler free, this is a definite contender for one of the stand out tracks.
Slowing down to introduce an even bigger metallic chug, ‘About The Rain’ arrives with a huge intent, and then, with the arrival of a bottom end bass rattle, it somehow sounds even bigger. The band works their way through a dark and slightly grungy arrangement with a huge confidence, and with a warbly, slightly stretched vocal applied to another simple chorus, it’s obvious they’re reaching for an Alice In Chains vibe. That said, the overall effect – especially with a couple more metallic guitar parts coming through – sounds more in keeping with Dokken circa ‘Shadowlife’ and the much-maligned Kiss album ‘Carnival of Souls’. In fact, there are strong notes of that album’s own ‘Rain’, but Rise of The Wood pepper the mood with more of a melodic streak, especially with Leo in good voice throughout, and one of the guitars countering the grungy aspects with a much brighter tone. As the track progresses, the vocal curls itself around the ominous mood even further, and a hefty sounding middle eight makes good on the opening chug. A few pointed notes are in place as a pseudo guitar solo, and eventually speeding up, a stoner influenced riff provides a solid bass for a dark sounding dual guitar part. There are no flashy solos and no self-indulgent flourishes between the heavy grooves – and this track is all the better for it.
Elsewhere, ‘Rise Above’ takes a similarly toned riff to ‘Underground’ and provides another great showcase for Ronald and and Jeff, and even if it feels like Rise of The Wood are in danger of repeating themselves, the sheer power in the performance (powered by a genuinely impressive production job for a completely independent act) sells another great tune, before ‘Hold Onto Your Fears’ rounds everything off with a classic sounding stoner infused swagger, pushing the guitars high in the mix, and giving Stolze another meaty rhythm to work with. There’s a lot about this track that shares DNA with a lot of melodic metal from the mid 90s, especially through a slightly muddy guitar tone – again, like the grungier Kiss, but better – but Rise’s commitment to the performance ensures nothing feels laboured. It’s fair to suggest that if you’ve found anything to enjoy on ‘Discharge’ by the time this final track rolls around, you’re likely to love this.
There’s little on this album that pushes the boundaries of (melodic) metal or gives the listener any big surprises, but that doesn’t matter – what Rise of The Wood do, they do with a genuine passion and musical conviction. There’s a nostalgic feel to the sound without feeling stale, and by recycling the EP tracks, they’re obviously aware that gives ‘Discharge’ a very strong core. In short, predictable as a few of these riffs might be, this plays brilliantly, and if you’ve any real interest in 90s inspired rock with a grunge/stoner/melodic metal heart, then this release will certainly pass a very enjoyable forty minutes or so. It might have taken this band a long time to serve up their second proper helping of heaviness, but this definitely comes as a recommended listen.
August 2025