Urzah - A Tranquil Void

Urzah is a metal band from Bristol, England who formed in 2019. Their latest album, "A Tranquil Void,' is their second full-length album; they have also released two EPs.

Urzah's “A Tranquil Void,” does so many things and gets every one of them right. Doom, sludge, post and prog are the sounds that will be experienced in this album. And what an album this is.  It is emotional, expansive and even catchy at times.  Music that hits hard but always has a depth bubbling underneath the surface that can be explored. 

“A Tranquil Void,” is arranged incredibly well. Each song is placed in its sequence exactly where it needs to be. As a result, every song compliments the one before and after it, while also serving the album as a whole. The two best examples of what I mean by this are the opening song “At the Mouth of the Cave,” and “Bark and Branches.”

The former feels like both a full-length song and an intro. Experienced on its own, it is a great song. Its razor-sharp riffs are catchy melodies are both gripping and beautiful. The vocals evoke an atmosphere of grit and guile while the rhythms open the song as a void of pure, raw music. However, the rising action of its tempo and intensity also perfectly set up the album.

The latter is a song born of clean instrumentation and an atmospheric pressure that feels both dense and expensive. The clean vocals are exceptional as are the acoustics and keys that add a subtle layer of hazy mystery over the notes. Much like the opening song, this track works well on its own but feels right at home as a prequel of sorts to the next track.

It really feels like a true album that is meant to be played from beginning to end, rather than a random collection of songs that was thrown together in the studio. It also has great production values. With a decent pair of headphones, “A Tranquil Void,” sounds like the band is right next to you. The overall sound is immense and powerful, with the heavier parts feeling like a real weight and the more introspective moments feeling natural and genuine. 

The energy of the performances is a highlight too, such as the sudden and blistering opening of “The Call Beneath,” with its hardcore undertones and metallic riffs.  I like the rhythm section holding down the foundation but rumbles ever forth, like a moving fortress that pushes the advancing chaos to the epicenter, which hits after the 3-minute mark with truly pulverizing riffs.

Both parts of “Infernal Star” are worthy too and my favorite songs on the album.  Each of them features an uncanny sense of urgency and full of kick ass moments where the riffs just won’t stop.  But among the unrelenting hammering, a gripping sense of melody exists as well.   The first part gets a little trippy around the 3:15 mark, with the way the lead guitar moves through the density of the other instruments.  It’s a passage that heavy and open at the same time—imaginative songwriting always wins.  The second part has a beatdown of riffs at the halfway mark that doesn’t let up until the 3:55 mark—it’s almost surreal in its punishment but a spacey breather arrives afterwards with a nice atmospheric passage that, once again, shows the band's commitment to providing adventurous songwriting alongside its metal fury.

The album stays consistent with the last few songs, a drop in quality is something this album doesn’t have.  Just when you think, “Can this band run out of cool things to do with the guitar/bass?” the opening of “In the Mouth of the Wolf,” proves out stupid of question that is.  There are some clean vocals in this song too—expertly placed and tastefully done.  They are part of the chorus, which is catchy and big.  If a band can wow me with musicianship and give me a hook, then bring it on I say.  The song has an incredible flow that doesn’t shy away from groove. I don’t know if anyone will even agree with me but some of the guitar parts remind me of Thrice’s “Vheissu,” and that’s a hell of a compliment.  

Before the final, epic song, the band throws “Hunter in the Veil,” to the mix which begins with much immediacy.  By the time the 40 second mark has passed, the song fully envelops by casting a wide net filled with everything that makes the album so good.  This one has a really cool atmosphere too—it sort of feels cold and detached yet the firmness of the instruments’ tone keeps it all grounded.  After the 4-minute mark, the band uses clean tones that still speak volumes and then dives into one of my favorite passages on the album: slow, heavy and bleak. 

As previously mentioned, “Entwined, Twisted Roots of Chaos,” is the last song and it goes for broke. The long intro is impressive and filled with little nuances that keep it from being boring.  Its serenity almost lulls into a false sense of security and the sudden drop at the 3:44 mark is jarring.  The band grips this moment tight and keeps the topsy turvy going as it transitions into atmospheric bulldozing for the mid-passage.  I like the subtle, ambient tones in the later parts of the song a lot—delicate yet harsh melodies that work so goddamn well with the heavier aspects.

Urzah’s “A Tranquil Void,” is, simply put, a stunning album that needs to be in everyone’s collection. The band’s ability to effectively have their own sound through clever use of established genres is both explosive and clever.  Highly recommended. 

Rating:  Excellent