We’ve been following the career of Bristol based noisemakers Urzah since their inception in early 2020, battling through a pandemic, they released two EP’s which honed them as a studio acts before they even got on a stage together. On stage they’re a primeval force of heaviness, progressive sludge that dwells at the fringes of both, drawing in hardcore, post metal, punk, classic metal and more like a sonic black hole.
They finally released their debut album The Scorching Gaze on APF records in 2024 and this was the first ‘proper’ chapter of their story, the self-actualisation that Urzah could become the next mega force in this genre the same way as bands such as Urne and DVNE have exploded in recent years.
Sharing similar influences such as Neurosis, Mastodon and any band that blends sludge with more atmospheric and progressive tones, their debut album was rumination on the human experience, the cycles of life death and more. It took them to bigger stages and higher profile shows, with the momentum not slowing even in the face of replacing their bassist.
Dan Bradley took up the low end in November 2024 and they decamped to Josh Gallop’s Stage 2 Studios in Bath again to record the follow up to The Scorching Gaze, as Josh has very solid, sonic acumen for music of this style.
That follow up is A Tranquil Void, another conceptually and philosophically driven record that joins its predecessor and a thematic diptych, the debut burning red with fire and rage while this one a calmer, reflective blue where the aftermath is examined, so keeping the same producer is a must if both albums are two sides of sonic coin. Though you shouldn’t expect Urzah to have mellowed, there’s little in the way of happy-clappy realisation, flashes of introspection and ambience yes but Urzah are still a band who reach catharsis and closure through heavy riffs, they’re still a progressive sludge band.
However with A Tranquil Void they broaden their sonic display through folk influences, broader spatial exploration, wider complexity in the songwriting and collaborations with guest vocalists of the Bristol music scene including, Dave Cook (Empire Of Dust), Chris Wilson (Row of Ashes) and Victoria Bourne (The Spark’s Desire), reinforcing their place and their pride as prominent members of the Bristol/South West scene.
Beginning with the insistent an ominous At The Mouth Of The Cave, they immediately break new ground as acoustics fluidly play the melodies over concrete stabs of heaviness, as if approaching a terrifying new phase of living. It does a lot to build up the dissonance and rage, which is unleashed on second track The Call Beneath. A tech metal showpiece that, really gets the record started in the way you’d want from Urzah. It’s a track about overcoming grief, it does so with gifted guitar interplay between Ed Fairman and Tom McElveen, set against and industrial dirge, and it’s a song which starts and stops like a mechanism for rage. Their vocals are just as intertwined as their guitar playing is, sharing riffs, melodies and leads, the density is just as potent as the complexity.
From here the pace increases on Infernal Star I, those Mastodon influences that are mentioned, are here if you’ve been looking for them. Though they are more pronounced on Infernal Star II, which continues this two part sludge suite by dialling up the heaviness, driven by the impressive drum work of James Brown and the guttural bass of Dan Bradley, as the last moments erupting into solo section, which will see many air guitar heroes following along. This is the fantastic sound of Urzah at its most refined.
Four tracks through and you can hear that Urzah are reaching for something much more intense and emotionally expressive than on their debut. It’s on the last four tracks though where the band push the experimental personality of their work.
Side B begins with the woozy tribal beat of Bark & Branches, folksy and meditative, you may think it’s Heilung, but as In The Mouth Of The Wolf hits, this short rest bite is destroyed by more fierce technical aggression, again the guitar playing features plenty of thunderous brutality, the riffs contradicting and conjoining as it shifts towards the longest solo section on the record, taking the track and the band into classic heavy metal anthemia. Beneath all of these movements the rhythm section stays thick and crushing.
Getting heavier and louder as we move into another massive sludge beating on Hunter In The Veil. It’s here that the Neurosis sound comparison hits home, deafening drones of guitar and cello from Luke Clemenger, anchored around the, off time drumming, sprawling lead bass and raging vocal.
A Tranquil Void is an opus, no mistake about that, any notion of a “difficult second album” blown away in the first half of the record, while on side two they settle into a new soundscapes, framing themselves as not just a riff heavy beast but a band who can play with nuance and intelligence.
A Tranquil Void culminates in the 11 minute closer; Entwined, Twisted Roots Of Chaos, beginning with a dissonant slow burn and ghostly female vocals, it’s a track that builds, as if signalling the final chapter of this dual album journey, the constant increase of volume, emotion and atmosphere, never fully bursts like you may want it too, but it does just enough to give the felling of acceptance and appeasement that this album is trying to epitomize.
It just caps off what is an incredible album number two from Urzah. The Scorching Gaze lit the fire, but A Tranquil Void has turned Urzah into an inferno of creative brilliance. You need this album! 10/10
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