Track by track /// Versus Ursus ‘Super Heavy Fun Times’ [Album] 2014

Versus Ursus

Versus Ursus make originally crafted music with the addition of this little thing called talent. Their debut album ‘Super Heavy Fun Times’ (out 30th August) can definitely guarantee you some, well, super heavy fun times and a lot of pleasure for your ears. The band’s guitarist and vocalist Matt Goss guides us through the record in all the details.


When we were talking about the track listing of the album, Jake (guitar) suggested this song to start the album which at first I couldn’t quite get my head around, but the more I listened to the song within the context of the track listing, the more it seemed to work. One of the more groove orientated songs, it almost sneaks up with a low-fi sounding intro before it bursts into a down tuned riff-fest. The end of this song is probably one of my favourite things to play live, it never fails to make me want to jump off stuff and completely lose it. This is probably one of the more direct songs on the album in terms of the lyrical content, dealing with independence and finding your place in the world.


Structurally this song is really weird and has a sort of mirrored pattern which I love. It starts and ends with the same riff and has two of what I would deem the ‘chorus’, sandwiched in the middle right after each other. Despite this it seems to flow well and is probably one of the more accessible songs on the album. The lyrics focus on the cult of celebrity, how people use the media as a tool to further their own ends and the fact that there is often a disparity between the way things are presented and the actual truth of the matter.

Witch Hunt

One of the last songs written for this record Witch Hunt seems very much a combination of a lot of different influences. It is also one of the first songs we wrote with our (relatively) new drummer Adam. I feel like it’s probably one of the biggest statements rhythmically on the album, it jumps from a straight up thrash beat, to drum ‘n’ bass and eventually on to a very sparse epic sounding section at the end. It was also a very collaborative song to record vocally with John (singer), Graham (Bass) and Adam all contributing vocals for separate sections of the song. Moving forward I think that the collaborative way in which this song was created will very much be the way we do things.


The key part of this song is the big riff that comes in at the beginning, it slows the album down somewhat after the first three tracks and leaves a little more room for vocals and guitar to breathe which is nice. We had a lot of fun with the guitars while recording this track. The spacey middle section and the outro left plenty of room for me and Jake to geek out on FX pedals and create some truly awesome / awful noises. We also had a great time layering up vocals on this one, there are some eerie backing vocals in the middle section and the outro is a combination of Adam and John screaming which sounds like a feral animal.

Rammer Jammer

This track was brought to the table by Graham initially, then we all developed the song together. One of the nice things about our band is that everyone is coming from a different place musically so I can always pick out which part has been contributed by who when I listen to things. The song has a kind of uptight, in-your-face kind of punk vibe to it in the verses and spans out in to more of a groove in the choruses. Actually, a funny thing you can hear if you really crank your stereo is Adam talking about his drums right at the end of the track.

Red Wedding

The second shortest song on the album coming in at 2.43 Red Wedding is compact but to the point. A catchy song with a big chorus. it’s a good one to do live. John has actually got a room of people line dancing to this tune… on more than one occasion.


Probably the most straight up punk song on the album, this is a fast paced kinetic number containing a whole bunch of hooks. There is a cool call-and-response part before every chorus that is normally a lot of fun to play live as John tends to get audience members involved or alternatively runs around and leaves me to sing it all. The latter half of the song transitions through a bridge section that builds to a monster riff / breakdown at the end.

Tiger Blood

Taking its name from the ramblings of a drug fuelled Charlie Sheen, this track isn’t actually anything to do with the title in that sense, it’s a perfect example of John seeing a song title and taking the lyrics in a totally different direction. Typically our songs exist as an instrumental version with a working title as the lyrics and vocals are constructed. Nine times out of ten the working titles of our songs end up sticking. Often the title will partly inspire the lyrical content but the lyrics do tend to grow around the existing song in a very organic way.

North Korea

Probably the most aggressive song on the album. This track this was actually released with one other song in July 2013 as a kind of taster for the album to come. This version has been re-worked with a different middle section and some changes to vocals. It’s interesting to see how the songs develop as we have played them live. This is another live favourite of mine due to the crushing end section!


The last two songs on the album are actually both pretty much linear in structure and progress forward without ever really repeating. It wasn’t really planned this way, they just seemed to fit best next to each other at the end. Despite having a linear structure Glass always seems to me like one of the more straight up rock ‘n’ roll songs. It’s probably one of my favourite songs lyrically with some fantastic imagery in there. This is another one where we have a lot of layered vocals and there’s even some three part vocal harmonies in there at the beginning! Just call us the Westlife. Actually don’t.


Funnily enough the last song on the album was actually also the last to be completed. When we created it I think we always felt like it would be a good end to the album. The lyrics and vocals were actually not completed until well after the instrumentals for the whole album had been recorded. It all kind of came together at the last minute and added a whole different dimension. As a song it seems to be having a bit of an identity crisis with a rockabilly section in the beginning and the end sounding like some sort of post-apocalyptic exodus . Despite the differences in the sections it still feels very much like one cohesive song, I’m very happy with how it turned out and I don’t think we could have hoped for a better ending to the album.

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