Review: “The Scorching Gaze” by Urzah

The sixth year of the reign of Urzah finds the Bristol based Post Progressive Sludge Metal quartet unveiling their most ambitious record to date in “The Scorching Gaze“. Inspired, as so many have been, by the cosmic horror writings of HP Lovecraft and more directly the late Cormac McCarthy’s novel “The Crossing“, the lyrical narratives of the bands sonic abrasions are said to move through an inward cerebral odyssey – life’s cycles through desolation and joy, triumph and pain, violence and beauty, as well as the permanency of choice and consequence. For the purpose they are joined by guest vocalist Elanor Tinlin of Choir Noir fame on three fresh cuts as well as cellist Luke Clemenger (otherwise known and the bassist of Stoner Metal act Froglord) on two with Josh Gallop (Sergeant Thunderhoof, Phoxjaw, City On A Hill) recording, mixing and mastering at Stage 2 Studios in Bath. The affair follows the band rise to prominence with two EPs in 2020’s self titled and 2022’s “II“, records which not only saw them shared stages with US Stoner Metal heavyweights Bongzilla and play both Stoomfest and Abyssal Fest but also took them to the grand final of Bloodstock’s Metal 2 The Masses…

Perhaps unexpectedly Urzah begin their debut album with “I, Empyrean“, a cut with a real pace and energy to it that finds Ed Fairman’s vocals caught in a whirlwind of chugging guitars and commanding percussion. It has instant appeal with its urgency, the delicate clean vocal harmonies of Eleanor Tinlin adding nuance and they match the soaring leads stride for stride in bleak beauty. A powerful statement piece, as every album opener should be, it serves to set the tone and atmosphere but as every Urzah fan knows there will be curveballs to come. Perhaps the first of those are Post-Hardcore leanings in some of the more chaotic riffs of the first half of “Lacrimare (Misery’s Shadow)” before the descent into madness begins with the powerful bridge sections that find Tinlin return for an aching spoken word. The almost tribal percussion of the finale from James Brown impresses, his abilities behind the kit not to be underestimated on a less than straightforward magnum opus of this stature. Expanding their horizons “Immateria Noir” surpasses the seven minute mark without any trouble at all. The Progressive leaning riffs and soaring beauty of the soundscape in which the band paint in light and shade nothing short of spellbinding with little nuances making all the difference. A delicate and yet powerful solo in the final moments that is preceded by some big chugs is mesmerising, the alchemy in which everything has been combined testament to the bands dedication to their craft.

After three tunes of gargantuan proportions the palate cleansing “(Interlude)” gives a moment of respite in almost cinematic fashion before the straight to the face power of “A Storm Is Ever Approaching” slaps like a woman scorned. Fuelled by a bouncy bass line from Les Grodek and urgent Post-Hardcore inspired riffs, lyrically this one feels like Fairman is on edge, as if about to snap at any moment and burst into flames of rage. The guitars inflict the damage with an expended instrumental passage that leads into a brutal final verse that proves, if there was any doubt, that Urzah can go toe to toe with anyone on any stage. After that classy heavier moment the band ease off the accelerator for “The Aesthetic“, a sweet and delicate ballad of stunning beauty. Eleanor Tinlin’s expressive clean vocals are enchanting while the contemplative clean guitars that accompany them are cleverly balanced. That moment of clam is shattered by the punchy “Of Decay“, a track laced with stormy rhythmic dynamics and power as Fairman screams at the sky with skull splitting resonance. Lyrically the title track, it feels fresh and cathartic as well as being heavy, the difference being the feeling of intent, the melodic piece that came before it ensuring it sounds all the more monstrous.

A fifteen minute long two part suite concludes “The Scorching Gaze” in style with cello from Luke Clemenger accompanying the down-tuned Sludge of “Thera I: Sea Of Flames“. Sinister and menacing, the rumblings conjure forth a tasteful solo as the tectonic plates shift beneath the feet, the Mastodon inspired finale shattering glass at fifty paces. There is melody in the madness, Urzah leaving no stone unturned as they ascend like a phoenix from the ashes of the volcano. Burning as it builds “Thera II: Embers Of Descent” finds the band hitting their stride after a couple of minutes of chug that feel like they echo from the cavernous black depths.  Ed Fairman’s cries of pain in caustic unclean vocals having the kind of grit and integrity to them that will resonate with those who circle the edge of the abyss, the almost eclectic solo cutting against the grain of the Noise Metal backdrop and yet fitting like a glove. A record that is captivating and complex, heavy and melodic, this debut from Urzah is one that astounds… [8.5/10]

Track Listing

1. I, Empyrean (ft.  Eleanor Tinlin of Choir Noir)
2. Lacrimare (Misery’s Shadow) (ft.  Eleanor Tinlin of Choir Noir)
3. Immateria Noir
4. (Interlude)
5. A Storm Is Ever Approaching
6. The Aesthetic (ft.  Eleanor Tinlin of Choir Noir and Luke Clemenger of Froglord)
7. Of Decay
8. Thera I: Sea Of Flames (ft. Luke Clemenger of Froglord)
9. Thera II: Embers Of Descent

“The Scorching Gaze” by Urzah is out 3rd May 2024 via APF Records and is available over at bandcamp