Urzah – A Tranquil Void
Urzah – A Tranquil Void
APF
Release Date: 05/06/26
Review by: Jon Deaux
7/10
Which can come across as quite disparaging until one realizes that the number 7 is where things really become exciting. Ten is self-explanatory; one merely needs to step aside and watch as the adjectives start lining up in their rightful places. Seven means having to discover the exact dividing line between success and almost success, between loving something while recognizing its limitations.
Do you know anything about diptychs? Well, diptychs come from the ancient Greek word diptykhos, which means “folded in two” and referred to folding wooden boards used by ancient Romans to write messages using a stylus. I know this because I spent about forty-five minutes reading articles about Byzantine art and liturgical ceremonies related to their albums on Wikipedia after getting obsessed with URZAH’s latest album. This is, in fact, how the right approach to ‘A Tranquil Void’ album should be – since URZAH are the kind of band that will make you do your homework and be ashamed that you really liked it.
Let us talk about this situation, shall we? In 2024, Bristol’s best Earthen Heaviness (I have no idea whether this is some sort of official term for this genre or just some crazy idea the band members had after reading McCarthy) released an album called ‘The Scorching Gaze’ on APF Records. This was an excellent album – dangerously so. This is the kind of album that provokes suspicion – the way a car in excellent condition provokes suspicion. Progressive sludge with progress; post-metal that remembers its purpose. You try to find some fault in it, but fail completely.
And now, they have decided to give us another album, which, if possible, surpasses the previous one. And, again, I will have to talk about it.
First of all, the concept of ‘A Tranquil Void’ is obvious, but it is executed with a confidence that gives it an air of sophistication. While the first album was about eruption and obliteration, the second album is about ashes, calmness and silence charged with energy that will erupt again soon. This is, probably, the most expensive therapy session that Bristol witnesses.
So, this record starts with ‘At The Mouth Of The Cave,’ and immediately, you realize that in between releasing the first and the second album, URZAH stopped to think. ‘At The Mouth Of The Cave’ is about rejecting apathy and choosing aspiration – the kind of aspiration that is likely to end badly, but still, the kind of aspiration worth having. This track starts with restraint before realizing what it is – and turning upside down. There is an interesting guitar tone in it that reminds me of an enraged geological formation, but there is also melody. And here we have it – a combination of melody and harsh guitar tones that are characteristic of the band.
The third track on the list, ‘Infernal Star I’, is, in fact, a key to understanding the album. It’s about memories and connections that appear despite our living in a “vast and uncaring universe”. There is an interesting construction in this album in terms of how it develops: the band builds patiently and almost menacingly to create the atmosphere of anticipation. And then, reader, the riff is delivered – and it is awesome. Excellent composition ratio, indeed.
The follow-up, ‘Infernal Star II’, is another piece of evidence that URZAH is the band whose sequels aren’t just money grabbers; it’s the case when the author manages to justify their creation. This is one of the lessons that the movie industry can take from this.
And ‘Hunter In The Veil’ – for those who, during hearing it, will find themselves saying “This is what I was talking about!” to their companions. This track is full of grand images of cycles of death and rebirth, making you notice that you are nothing compared to the cosmos. The combination of these and incredible riffing makes it seem as if the album describes weather conditions, and, indeed, if I close my eyes, I feel like I’m on a planet.
Another interesting decision – the inclusion of Luke Clemenger’s strings into the album. This – someone’s decision to involve a cellist – was either a bold move, considering the style of the music, or, on the contrary, the most obvious thing ever. The cello does not decorate the record; it’s a vital element in it. At some point in time, when listening to ‘A Tranquil Void,’ you notice that the combination of drones and strings creates something that should be impossible together with such riff density. And if it is, please inform the Royal College of Music, because they should hear it.
Finally, there is the question of the album’s production. Josh Gallop did amazing work for URZAH, creating what you would consider correct in terms of heavy records – if only you weren’t sure of this. Correct in this case implies everything being in its right place. But in order to realize it, you have to consume this product, which is why ‘A Tranquil Void’ can be compared to a very good piece of bread.
And the final track – a thirteen-minute monster built on three voices of Dave Cook (Empire of Dust), Chris Wilson (Row of Ashes), and Victoria Bourne (The Spark’s Desire). All these singers are mentioned on the band’s website as “friends in the Bristol scene”, and I hope they are – what generosity! Anyway, this is the track that makes you rethink everything you’ve heard before – not in contradiction with it, but in order to comprehend it. Like the last part of a puzzle you didn’t notice was missing.
Building from “haunting whisper” to “planet-obliterating roar”, it involves guests and gives rise to many different emotions. For example, the contribution of Victoria Bourne in particular made me sit up straight.
By the end of the album, URZAH says everything they needed to say. Both diptych sides are created – volcano and its consequences; eruption and a tranquil void – the thing and its silence after that.
But there is one flaw in this masterpiece, which may be considered both a flaw and a feature. At some points, namely in ‘The Call Beneath’ and ‘Bark Branches’, the band sacrifices accessibility of its work to architectural integrity. The craftsmanship of this album may be seen, but not felt immediately, due to the obscurity of its message.
This is not really a flaw, as you will be able to enjoy listening to it anyway, and it may become the challenge that will make you think a little bit more than you usually do.
However, to be quite honest with you, ‘A Tranquil Void’ is a product of four people who perfectly know who they are. It’s the record with everything that makes heavy metal albums great; in addition to that, it’s the record with silence that takes something of you in order to exist. But, in fact, the result is something you need in your life.
Diptych is completed. Listen to both sides, starting from the eruption, ending with the void. It will change you somehow, and I bet that this was the main idea of URZAH.
TRACK LISTING
- At The Mouth Of The Cave
- The Call Beneath
- Infernal Star I
- Infernal Star II
- Bark Branches
- In The Mouth Of The Wolf
- Hunter In The Veil
- Entwined Twisted Roots Of Chaos
LINKS
https://bio.site/urzah
Disclaimer: This review is solely the property of Jon Deaux and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
