Orange Goblin called it a day at the end of last year and, of course, MV made the pilgrimage one last time. Before Grand Magus took to the stage that night, the opening band were Urne. Three of them. From London. And they were superb — compelling, classy, and crucially not beholden to anyone else.
Ben Ward used the moment to suggest that “the future of British metal is in good hands.” That might have been meant as encouragement, but it also serves as a neat way in to Urne’s third album, “Setting Fire To The Sky.” Produced by SikTh’s Justin Hill, this doesn’t sound like a band finding their feet — it sounds like a statement.
It opens with “Be Not Dismayed,” whose acoustic introduction briefly lulls you into a false sense of security before the floor drops out. This is heavy and uncompromising, built on disconcerting harmonies, grunts, growls and melody that collide rather than compete. Even the solos refuse to behave conventionally.
“Weeping To The World” follows, driven by drums that inject real urgency. The line “on the day I saw my dying son” is half-spoken, as if confessed rather than sung, but by the end Joe Nally sounds like he’s pulling his heart out of his own chest. It’s raw, brave, and devastating.
“The Spirit Alive” adds another entry to an already impressive list of highlights, revealing progressive tendencies without ever drifting into indulgence, while the title track underlines just how far Urne have come. “Setting Fire To The Sky” is a masterclass in modern metal, complete with a brilliant time change — and somewhere, Robb Flynn may well be listening with interest.
There’s an eerie sense of foreboding to “The Ancient Horizon,” which hits like an icy blast, all ominous atmosphere and tension. It’s followed by “Towards The Harmony Hall,” one of the album’s more involved pieces. Seeing Urne live at the Goblin show made it clear just how technically dazzling they are, but what really stands out here is how accessible it all remains. There’s so much light and shade woven into these songs.
“Harken The Waves” was a standout live, but on record it gains extra weight thanks to a guest appearance from Mastodon’s Troy Sanders. He’s not here just for the name — the collaboration makes complete sense. Comparisons are inevitable, but Urne don’t sound like a band chasing anyone else’s shadow. When the track descends into chaos and offers the line “we’ll be together at last,” it feels like a union fully realised.
The guests continue with violinist Jo Quail, whose haunting contribution elevates the gorgeous “Breathe.” As Nally intones that he’s “entwined in the fractures of this life,” it feels like all the pieces of this record finally lock into place.
Ben Ward wasn’t wrong — but in a way, he was selling Urne short. On the evidence of “Setting Fire To The Sky,” they’re not the future of British metal at all.
They’re simply the present.
RATING: 9/10
