Urza - The Omnipresence Of Loss (CD)

funeral doom metal, Solitude Productions, Solitude Productions
450.00 Р
Цена в баллах: 900 баллов
SP. 143-19 x
В наличии
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Дебютная работа группы из Германии, выдержанная в лучших традициях funeral doom metal. Это не просто мрачная и ультро-тяжёлая музыка, не лишённая мелодичности, заключённая в пяти продолжительных треках, это ещё и собственная впечатляющая атмосфера и плотный профессиональный саунд, ставящие Urza вровень с уже признанными корифеями жанра.

Треклист:
1 Lost In Decline
2 A History Of Ghosts
3 Path Of Tombs
4 From The Vaults To Extermination
5 Demystifying The Blackness

Артист:
Urza
Страна артиста:
Germany
Год альбома:
2019
Название:
The Omnipresence Of Loss
Стиль:
funeral doom metal
Формат:
Compact Disk
Тип:
CD
Упаковка:
Jewel Case
Лейбл:
Solitude Productions
Кат. номер:
SP. 143-19
Год издания:
2019
Штрих-код:
4627080611528
Страна-производитель:
Russia
Review
Antichrist Magazine
6.9/10
06.05.2019

You are now falling into deep void of sleep and despair, the atmosphere crushing in pressure, reminiscent of anesthesia and unconsciousness. What does this have to do with Urza’s: The Omnipresence of Loss you may ask? Because it is a funeral album of course! Urza is a funeral death/doom metal band from Berlin, Germany and The Omnipresence of Loss is their debut album of 2019. Doom metal is a genre I do not excessively tangle myself with, and this applies to the funeral sub-genre even more so. However, with Urza’s beautiful cover art that portrayed an atmospheric world of darkness and lonesome, I gravitated towards this album and had anticipations of picking an unfamiliar genre to listen to. And upon listening to the over an hour long album, I was thoroughly discomforted with the material presented, as it reverberated with signs of a horrible album. But, in my most recent re-listen, I found myself having much more of a diverting time.

My first grievances were innate from the get go, as they are integral to the album at its core. Funeral metal is excruciatingly taxing on my ability to maintain a consistent level of consciousness and sensible awareness, or in short: It makes me sleepy. I feel I should make it clear that it is no fault of the album on a technical side or the songwriting side, which causes me this minute drowsiness, because there have been albums I’ve fallen asleep to, that were incredibly disagreeably and were not funeral or doom related. However, it is works like the funeral doom metal band Asunder and The Omnipresence of Loss that cause this endurance test of wakefulness that depreciate my opinion of these works. And this not to insult the genre in any way, but the constant droning of the fuzzy guitars and their sluggish yet incessant pace just know how to lull me into a slumber. And it’s a shame as well, as if I were more invested in the genre, I could dissect the numbing hum of the guitars and appreciate their mild beauty. However, what I can appreciate is how well everything fits together in this album.

I’d love to note that on my second listen to this album, I took the initiative to keep myself invested and read along the lyrics to each of the 5 songs featured. And in all honesty, it made the experience better in my opinion, as the lyrics tone of dreary nihilism, loss, melancholy, and all around negativity matched the sluggish, tired tone of the music perfectly. This is an example of lyrics that can make or break an album, and that lyrics actually have purpose and matter almost as much as every other aspect of going into an album. There’s no anger in the vocal delivery as well, but a languid desperation, scarred by pain and misery that accentuate the lyrics tenfold. Thomas’ vocal direction was peculiar at first, using guttural, almost slam like vocal styles to punctuate this album, but in hindsight, his long, drawn out growls, howls, shrieks and cries add a fine level of detail to the abject torment of loss that this album projects. The lyrics themselves, paint a picture of a decimated world torn asunder by plague and illness, whilst also preaching the pain of mortal isolation and death. Couple these lyrics with their delivery, then accentuate both of these with the dream-like imagery of the cover, and boom, perfect album tone that I’m sure every funeral fan will adore, as I found myself coming around to like it.

The sound of the album is to say complex, yet simple in delivery. It’s not quite dream-like or fantastical, and not nightmarish either, almost acting like a purgatory of slumber, lost and miserable. The guitars by Oliver and Marucs are the standard doom pace and don’t stand out on a technical level, but carry a hum that is downright hypnotizing, no doubt a cause for my initial troubles with this album. However, it’s not the same song and dance for the entire duration, as some faster picking is seen on tracks like “Path of Tombs” or echoed acoustics on the album opener “Lost In Decline”. These changes aren’t drastic and meld perfectly with other parts of the songs, whilst also breaking up the monotony, as some of these songs are not afraid to speed things up slightly. The bass as well, courtesy of Marc Leclerc, has a fuzzy, warm timbre to it, which integrated with the guitars, is as soothing as it is course and tired. Hannes on drums provides as well, with an echoed, archaic sound that resonates within the void of these crawling tracks.

While I enjoy singing praises of the highlights of this album, it still comes down to the music for me and what’s going on. An album can have perfect synchronization with itself in all aspects, but at the nitty-gritty, is it for me? I do enjoy the tone, and how it’s executed, but the major problem as I established earlier is that this album puts me to sleep. Do I enjoy reading along and being engaged? Yes, absolutely. Should I have to read to be engaged with an album? No, absolutely not. If it were much shorter, like maybe sheer down the songs a bit, or scrap one or two, that’d be fine, but that can really only be done in the latter. This isn’t the longest album I’ve listened to, only about an hour and two minutes, but being a funeral death/doom metal album, you really feel that run time, minute by minute, second by second. I was not looking forward to the slog of re-listening to this album, as it’s a hefty engagement. But, if you’re into the doom stuff, it’s sure enough to be a bang for your buck.

Author: Yade Malice
Review
Iye Zine
7.5/10
21.04.2019

Di norma accogliamo sempre con grande soddisfazione l’apparizione di nuove band dedite al funeral death doom, tanto più poi se al primo full length l’etichetta che ne cura l’uscita è una garanzia come la Solitude.

I tedeschi Urza, come prevedibile, non deludono e si rendono protagonisti di un lavoro decisamente degno della fiducia a loro accordata dalla label russa.
La band berlinese, in effetti, sarebbe attiva già da alcuni anni ma come sempre la gestazione nel doom non è mai breve per definizione, per cui dopo il singolo Path Of Tombs, pubblicato lo scorso anno, arriva ora l’esordio su lunga distanza The Omnipresence Of Loss che, già nell’ultima parola del titolo, porta con sé qualche indicazione utile a inquadrare il sound visto che l’omonima band statunitense è senz’altro uno dei vari punti di riferimento per gli Urza.
Il sound offerto è aspro, dalle poche divagazioni melodiche ma comunque non troppo monolitico né rallentato, offrendo nei limiti delle coordinate del genere una certa varietà ritmica con il ricorso a qualche corrosiva accelerazione così come a più liquidi e rarefatti passaggi.
La già citata Path Of Tombs è decisamente la traccia guida dell’album grazie alla presenza di una linea melodica più definita rispetto al tetragono andamento degli altri quattro brani. D’altronde il background di gran parte degli esperti musicisti coinvolti nel progetto è soprattutto di matrice death (anche se il chitarrista Oliver Schreyer ha fatto parte della line up degli Ophis in occasione del full length d’esordio Stream Of Misery) e questo spiega in parte come il funeral degli Urza appaia più robusto e meno dolente rispetto a quanto siamo abituati ad ascoltare. The Omnipresence Of Loss si rivela un lavoro senz’altro riuscito anche se, per le sue caratteristiche, la durata che supera di poco l’ora ne rende piuttosto impegnativo l’ascolto.

Author: STEFANO CAVANNA
Review
Metal Temple
8/10
24.04.2019

Funeral Death and Doom Metal always make for a rock steady marriage. Funeral Death's Earth-rumbling vocal styles match Doom's cavernous bass, seamlessly. Doom's iconic molasses tempos pair wonderfully with Funeral Death's lyrics of heartless destruction of man. The two are more than meant for each other. One such successful marriage story is URZA. Hailing from Berlin, an area not known for many Doom bands, URZA has been active for four years. The Omnipresence of Loss is their debut. Like an Eldritch horror version of SUMAC, URZA crawls around the deep where the air is thin, their many eyes, blind and clouded over blink in unison as it crawls through mud in search of cave insects.

Frontman Thomas' booming vocal presence is felt deep in your ribcage as he bellows like the blind cave monster. Like GODSPEED YOU! BLACK EMPEROR and HARIKARI FOR THE SKY, tracks stretch and sprawl like so many deserted open roads, perfect for self-reflection and listening to your own troubled thoughts bounce and reverberate off the walls of your skull as you stew in your own feelings of complete isolation. There are moments of uncertain fear as the mud-dwelling cave creature grumbles, snuffling around in the filth for that elusive scent of flesh with the appetizing stench of terror on it.

URZA is all about domination; guitars and vocals buzzing alongside crashing cymbals and plodding snares, all sounds conspiring into a sonic machine built to run you down. Like a towering combine harvester; maybe several. "A History of Ghosts" is complete with moans of the anguishing damned as well as the snarls of the demons torturing them. "Path of Tombs" is ghoulishly heavy with the weight of fifty stone sarcophagi bearing down on your soul.

URZA is a vacuum of light and in its darkness lie swarms of blood-thirsty parasites.

Songwriting: 10
Originality: 7
Memorability: 7
Production: 10

Author: Kyle Scott
Review
Doom-metal.com
8/10
02.04.2019


Taking a lot of influence from the blueprint for Russian Funeral/Death Doom bands, Germany's Urza make it clear from the opening chords that their wish is to leave a massive footprint with their debut. The album is a pummeling effort dripping with dark and mournful riffs and your occasional heavily effected clean breaks, driven by the deep and guttural growls of the underworld.

If you're looking for a rough, sludgy and loose ensemble to create your evening's soundtrack then you have come to the wrong place. The mixing and production for an album in this genre is on point with a clear polish that in no way takes away or hinders the bleakness that the band is trying to create. Furthermore, the group on display is extremely tight, everything played having a direct and concrete purpose, crafting the ideal level of atmosphere across the five tracks on 'The Omnipresence of Loss'. The album also starts with a seventeen minute long track, so you should already have an idea of what you're getting yourself into.

Fans of the aforementioned glut of Russian Federation bands, as well as Evoken and Esoteric, should aim to contain this record amongst their collections during the 2019 season.

Author: Jon Carr
Review
Kaosguards
16/20
15.03.2019

Il faut scruter attentivement la saisissante pochette de ce premier album de URZA pour tenter de saisir ce qui peut bien motiver ce quintette berlinois à pratiquer un Death Doom Metal en mode Funeral !

On aperçoit en effet la frêle silhouette d'un quelconque prêtre brandissant un bâton surmonté d'une croix, juché sur une proéminence rocheuse sombre (à moins qu'il ne s'agisse d'un amas gazeux délétère) qui se découpe à peine sur fond d'un ciel d'une noirceur apocalyptique, percé en son centre par des raies d'une lumière qu'on devine plus destructrice qu'apaisante. Mon hypothèse est que nos braves garçons qui constituent URZA ont voulu tenté de mettre en musique les forces telluriques implacablement à l’œuvre, la noirceur implacable entourant le personnage étant vaguement contrastée par cette lumière de fin du monde.

Pour ce qui d'apporter la lourdeur, le côté caverneux, on peut compter sur l'inspiration Doom Death : riffs titanesques au rendu grondant, batterie pesante, vocaux gutturaux mais encore relativement articulés. La lenteur ne suffisant pas, la part Funeral Doom impose une extrême lenteur, dont il faut souligner qu'elle se trouve convenablement animée par la batterie : rien de particulièrement fou ni trépidant mais on échappe tout de même au minimum métronomique. Par ailleurs, des arrangements, voire des plages atmosphériques ponctuent judicieusement les cinq immenses compositions, créant des zones de contrastes bienvenues et renforçant paradoxalement le sentiment d'écrasement qui s'empare de l'auditeur.

Excroissance maximaliste et atmosphérique du Doom Death, le Funeral Doom se trouve ici régénéré par son parent, signe que URZA vise à imposer une marque qui lui est propre dans des sous-genres extrêmement balisés.

Author: Alain Lavanne
Review
Breathing the Core
25.03.2019

The lyrics on The Omnipresence Of Loss are related to central themes. When we were writing the album we had not a concrete kind of concept but it all got together and we gathered lyrics that fit the music to the core: Reflecting negative aspects in life as loss of hope, loss of beliefs, loss in general, apocalyptic prophecies.

“Lost in Decline” depicts what happens when the human race is playing God and loosing control of its technologies and inventions especially when altering the rules of nature. Then nature will take revenge on our ignorance, selfishness and arrogance. Then the consequences will be fatal and desastrous. A little light of hope remains as already mentioned in the choice of the cover artwork.

“A history of ghost” is about the loss of a beloved person. Everything in the world is losing its meaning and there is a withering away with memories. Life becomes surreal and each day is a burden. We all know this kind of feelings an 'that aura of ash' symbolizes everything and nothing that remains when someone dies.

“Path Of Tombs” reflects the alienation of man from his own kind. We live in a modern world of coldness that has become standardized in each way. We have lost ourselves in masses and the days to come are getting greyer and even more grey. The path of tombs reflects that search for the true, very self that has been lost when we were taught all the rules and everything that life has to be about. It is kind of path rediscovering what life really means to us. A modern way of living as a nihilist. Facing the void, facing death, facing failure and putrefaction.

Man has never learned to value what he created throughout the centuries. This is what “From The Vaults to Extermination” is about: devilry, insanity and ignorance. The total destruction of every thought, of every written word and every edifice or monument that has been created by human hands and minds.

People tend to mystify everything: actually, we are all born to die. Fact. “Demystifying The Blackness” is an ode to life without seeking salvation in some heavens. We should rather accept our lifetime as it is and try not seeking something from above in an unknown afterlife. Man always tries to obscure negative aspects and alienates more and more from itself. We have to find out what is real for us, what makes a living worthy rather than mystifying and disguise everything. We have to accept facts and reality instead of wasting time in seeking something that never will happen. There will be death, void and putrefaction. We need to live rather conscious instead of denying everything about ourselves and our misdeeds.

What we finally have here alltogether on TOOL is one hour of true and very human emotions. Put into dark songs with the intention to feel the negative energy. We write riffs with dark, menacing but also melancholic and sad vibrations that we can feel and that we like to play. We hope that the listener can feel that these songs come quite natural. It may of course need some time getting into our world of darkness but we really hope that people feel that. We do not try to make a better world with our music and our lyrics but when people look into themselves they will see a lot of all this dark feelings as well.

Author: Screamer
Review
Rocker Stage
18.03.2019

Solitude Productions presenta l’album di debutto degli URZA con “The Omnipresence Of Loss”

Promette bene questa nuova linea che vede il quintetto berlinese, con molti anni di esperienza nel campo del genere Metal, con le sue influenze Death e FUNERAL DOOM, portare questo progetto, il quale ha già un seguito in fase di lavorazione.

Personalmente quando ascolto un album per la maggior parte improntato sul FUNERAL DOOM, mi incuriosisce capire i temi e il sound utilizzato per ricreare quello che è il messaggio che la band vuol trasmettere. In questo caso tema principale risulta il “Decadimento, putrefazione, perdita: la fine dei tempi è iniziata!” Un percorso di tristezza e desolazione dove l’uomo si perde in mille tentazioni, fa sì che le linee atmosferiche, le grida e il sound molto curato portino questa devastazione ad un piano ancora più profondo. C’è da dire che è stato fatto un ottimo lavoro perché il tutto ha un suono molto preciso e chiaro.

5 tracce che ti terranno abbastanza impegnato tra potenti riff di chitarra e attimi di pura desolazione, quello che fa proprio al caso tuo se vuoi perderti nell’oblio e nella decadenza più totale,quindi non ti resta che immergerti in “The Omnipresence Of Loss”

Author: Davide Cadeddu “JACK”
Review
Lucifer Rising
15.03.2019

Ouvir uma banda como o URZA é como voltar ao início dos anos 90 quando eu estava descobrindo aqueles primeiros grupos que vinham investindo em um som muito diferente do que todos nós ouvíamos. Era algo que nos lembrava o death metal, mas era lento, muito lento. Não sabíamos que estávamos vendo o início do doom metal mais carregado e mesclado com o death metal. Bandas como Paradise Lost, My Dying Bride, Winter, Anathema, entre outras foram o pontapé para essa sonoridade que foi tomando de assalto a cena mundial. Os alemães do URZA seguiram esse caminho e criaram um álbum de doom metal como não ouvia a um bom tempo. Absolutamente tradicional e carregado, “Omnipresence of Loss” resgata aquela atmosfera que há muito se perdeu ou se diluiu num sem número de misturas e influências. A produção desse álbum é magnífica e as músicas ficam ainda mais poderosas quando apresentadas com o peso descomunal que emana das caixas de som. “Lost in Decline” abre o álbum e te arrasta para o fundo de um sentimento paralisante. É uma música que usa diversas nuâncias. Vai de momentos de quase imobilidade e trechos onde se torna quase death metal mais cadenciado. Uma música longa (mais de 17 minutos), mas que não é cansativa. “History of Ghosts” é desesperadora com seus gritos no início e uma lentidão avassaladora. Os arranjos dessa música realmente foram feitos para oprimir o ouvinte e isso é magnífico. Todas as outras músicas são um brinde ao que o doom metal é de verdade, mas preciso destacar a última faixa do álbum “Demystifying the Blackness” que é simplesmente perfeita. O clima aqui transcede o sentimento. Há uma atmosfera que me lembrou demais a obra-prima do KATATONIA “Dance of Decembers Souls”, mas mais sombrio. O URZA abraçou o estilo de forma verdadeira e “The Omnipresence of Loss” é um álbum que prova isso de forma inequívoca. Um grande lançamento do doom metal alemão para o mundo.

Author: Fabio Brayner
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