For years, Belgian progressive metal outfit URSA built their reputation on intricate instrumental compositions—shifting time signatures, fluid technicality, and an ability to balance crushing heaviness with atmospheric depth. But Call of the Infinite marks a turning point. The addition of vocalist Jan Buekers isn’t just a tweak to their formula—it’s a complete transformation, adding a visceral intensity that pushes their music into new territory.

From the first seconds of Call of the Infinite, there’s no easing in. Opener “Deconstruct” launches straight into a whirlwind of tight, melodic finger-tapped riffs and unrelenting heaviness. Buekers’ vocals are immense—his guttural growls hit with pinpoint brutality, while his clean passages add weight rather than relief. The sheer range of styles covered in this one track alone makes it clear: URSA haven’t sacrificed their complexity; they’ve sharpened it into something even more dynamic.

“Erase” doubles down on aggression, seamlessly shifting between jagged, Meshuggah-style riffing and intricate math-metal sections. Brief moments of calm punctuate the chaos, but only to make the next wave hit harder. “Major,” by contrast, has a more uplifting feel, its frantic guitar work providing a foundation for Buekers’ cavernous vocals. The musicianship across the album is staggering, proving that URSA have lost none of their technical prowess in this transition.

For a band that once spoke entirely through their instruments, the decision to introduce vocals could have risked losing what made them unique. Instead, it has amplified their strengths. Call of the Infinite is not just an evolution—it’s a rebirth, one that cements URSA as a true force in modern progressive metal. Fans of heavy music, from djent obsessives to prog purists, will find plenty to immerse themselves in here.