From their record label’s website, “URZAH are a forward-thinking, progressive sludge metal band, transcending boundaries with their convergence of expansive and complex rhythms, fused with heavy riff-laden passages and deeply entwined shimmering textures. Formed and founded in 2020 - just before the pandemic hit – URZAH are a collective of seasoned musicians with diverse influences, united by their true passion for cosmic sonic exploration.” Their newest album here has nine songs.

“I, Empyrean” is first. Out of the gates, it has a heavy, weighted backbone and shouted vocals. The sound is dark, indeed, but the riffs are energized, and the chorus is not without some melodies. “Lacimare (Misery’s Shadow)” further shows the band’s comprehension of complex structures. At face value, the riffs seem simple enough, but they create a manifold of various emotions from the listener. The hearty bass line, and the riffs toy with just enough melody amidst the shadowy sound. “Immateria Noir” presents an opening melody that is twisted, and disfigured. As it progresses, darkness creeps in, until the entire landscape is clouded.

“Interlude” is a short segue song, leading to “A Storm is Ever Approaching,” and you can hear thunder rumbling. This is another song with veiled and subtle melodies that are overshadowed by thick, dark structures, and the fervor of the shouted vocals. “The Aesthetic” is the first song that features clean tones in the guitars, and clean female vocals. The melodies are so fragile that they could disappear when you reach out to grab them. “Of Decay” swings in the opposite direction, with a heavy, contentious riff and sound. The final song is divided into two parts…the first, titled “Sea of Flames” is weighted from a heavy guitar riff and thick bass guitar notes, and the dissonant melodies create a sense of hopelessness.

The second movement, titled “Embers of Descent,” has a slow, steady, and stalking riff that sounds like it is creeping up behind you. From there, the sterile riff has a discomforting feeling to it, almost like the world is ending. Overall, you have to applaud the band’s sense of thinking outside of the box. The album is convoluted, complex, and dark, and the way that they toy with dissonant melody is unlike anything I have heard this year. If the punishing rhythms don’t get you, the hopeless anger will.