Singapore has never exactly been short of bands willing to fly the old school metal flag, but Ursula have managed to put together something that feels particularly refreshing. ‘Lords Of Impermanence’ is a nasty Death Metal record at its core, but there is much more going on once you start paying attention to the riffs. Black and Thrash Metal elements are all over the place, yet it is the traditional Heavy Metal influence that gives this album its character.
‘Deadly Incantations’ gets things moving with an immediate dose of aggression, but listen closely to those guitars and you will catch the Heavy Metal influence creeping through. There is a real sense of movement in the riffing, particularly in the galloping sections, and this gives the song a different feel from the usual Death Metal approach. It is heavy, but it is also memorable.
‘Led To Die’ continues in much the same vein, with the guitars doing plenty of the talking. The riffing has that old school bite, while the rhythm section keeps everything driving forward. Ursula clearly understand that a good Death Metal song needs more than just speed and heaviness. The riffs have to work, and these do.
‘Slave Driver’ is another strong example of the band’s ability to bring traditional metal sensibilities into a much darker setting. There are moments where you can almost imagine an old Heavy Metal band playing the underlying riff before Ursula drag it through the mud and throw some Death Metal filth over the top. That combination works surprisingly well.
‘Eternal Bound’ is one of the album’s highlights, particularly for the guitar work. The galloping riffs give the track a strong forward momentum, while the changes between sections stop it from becoming predictable. W. Christ and H.J. Possessed work well together, with the guitars providing both the aggression and the melodic movement that gives the album its identity.
The title track, ‘Lords Of Impermanence’, takes a darker and heavier route. The pace isn’t everything here, and the slower, more ominous passages give the album some breathing room. The vocals fit perfectly into this darker atmosphere, remaining harsh without becoming difficult to follow.
‘The Master’ brings back the aggression, while ‘Line By Line’ gives A.D. Strike plenty of room to drive the songs forward. The drums never feel unnecessarily overworked, and the bass from Qadir M. Thunder sits nicely underneath the guitars instead of disappearing completely into the mix. That is particularly important with this kind of guitar-heavy material.
Qadir’s presence also translates very well to the live environment. Anyone who has caught Ursula on stage will know there is plenty of energy coming from the bass side of the stage, and that same sense of drive is evident throughout the record. It adds another layer to the band’s overall character without taking attention away from the songs themselves.
The vocals are another strong point. W. Christ delivers them with enough grit and aggression to match the music, but the performance never feels like it is trying too hard. There is a clear understanding of where the vocals need to sit within each song, allowing the guitars to remain the main attraction while still giving the lyrics plenty of weight.
‘Himmelstrasse’ closes the album and leaves things on a suitably dark note. By this stage Ursula have already made their point, and thankfully they don’t overstay their welcome. At around thirty-five minutes, ‘Lords Of Impermanence’ is a very easy album to return to. There is enough variation between the tracks without the record ever losing its identity.
The production by K.K. Wong (Ah Boy) at TNT Music Studios gives the album a good balance between clarity and rawness. The guitars have the necessary bite, the drums remain punchy and the bass can actually be heard, while the overall sound retains enough grit to suit the material. Will Killingsworth’s mastering at Dead Air Studios adds the finishing touch without making the album sound overly polished.
What makes ‘Lords Of Impermanence’ stand out is that Ursula aren’t simply throwing together Death, Black, Thrash and Heavy Metal influences and hoping something sticks. The traditional Heavy Metal influence is particularly important because of the way those galloping riffs are worked into the songs. It gives the album a sense of movement and makes several of the riffs immediately memorable.
For a Singapore band, this is a damn strong debut. Ursula have managed to sound old-school without becoming predictable, aggressive without becoming monotonous and heavy without sacrificing the riffs. There is plenty here for Death Metal fans, but anyone who appreciates the classic Heavy Metal tradition will find something to enjoy as well.
‘Lords Of Impermanence’ is a killer record and another solid reminder that there is still plenty of life, character and attitude coming out of the Singapore underground.
