Unholy Presences

When I tried to add Murk to the archives many months ago, I actually didn’t know too much about them. The description of the debut intrigued me, but I hadn’t actually heard any of the bands material. Apparently, this is according to No Colours Records, who the band are signed to, “If you like old Judas Iscariot and Inquisition than this album is a must for you!” Considering the fact that I’m a huge fan of Judas Iscariot in particular, especially the older material of the band, I simply had to find this debut release somewhere, however long it took. It turns out that it took some several months to find the damn thing. ‘Unholy Presences’ is similar to Judas Iscariot in some ways, but mostly, it’s an album that stands on it’s own two feet without needing to be compared to some of the most influential American bands of the 1990’s. Whilst I can see certain aspects of Murk that are similar to the aforementioned bands, in particular Judas Iscariot, Murk are a band that merits their own rewards based solely on the material put in front of us, not because of the comparisons No Colours has issued us with. Being signed to such a notorious label, in my eyes, was bound to boost the popularity of this band after the debut was spread across the globe, but I’ve actually heard next to no information about the act, or anything about the album itself. Murk are a relative unknown in the world of black metal music at the moment, but with any luck, reviews will begin to pour in, praising the very name of the band and the material we have here so that Murk can begin to establish themselves as a recognizable force in the scene.


As I said, elements of this band can seem heavily influenced by notable bands like the Colombian act Inquisition, or the American outfit Judas Iscariot, whom are now a defunct band. Whilst this is true, a lot of what we have on offer is specific to Murk themselves. ‘Unholy Presences’ could be seen as typical of the mid-90’s black metal scene due to it’s heavy reliance on guitars. Then again, most black metal music is heavily reliant on guitars. They usually are the sole basis on which everything is built around and it’s very much like that here. The opening to this album it’s what makes it so special. The first three tracks are immense. The creative guitars are certainly the stand-out instrument. There is that Judas Iscariot feel to it. Those tremolo riffs, played over and over again remind me of the good old days when black metal was raw and real. Nowadays, the scene has seen an influx of ‘nothing’ bands. Bands that sound the same to everything else and whilst this does contain elements of other bands, it is it’s own machine, driven on by the forcefulness of the guitars. The first three songs, as I mentioned, are brilliant. They are solely driven by explosive riffs. The tempo of this album caught me off guard. I expected it to be a non-stop, action packed, relentless affair with nothing but riff after riff piled on top of aggressive vocals. However, this isn’t the case. Whilst we do encounter the old tremolo riffing, the guitars do like to spice it up now and again with creativity and innovation. How? Well, rhythmic riffs that do like to alter themselves are as commonplace as they can be on a black metal release. The tempo of the album also likes to differ. From a relatively slow pace, to mid pace and then through to a faster tempo. Each speed is well represented. The percussion is the main source of the speed. It dictates well like a general to his soldiers before entering the battlefield.


The guitars like to act as a creeping barrage to the drums. They stand back, behind the drums and create the secondary wall of noise behind the percussion sounds. The sharp bursts of drums are hard and harsh. This method is invigorating for the audience because the vast majority of black metal fans like to be able to hear the instruments doing there job correctly and efficiently. The bass can even be heard clearly. It’s a low driving sound, which is in contrast to the guitars which are a higher pitched driving sound. All instruments act as a forceful outlet to the musician behind the music. The diverse nature of the rhythms, speeds and tempos is pleasing to the senses of this black metal fan. Murk don’t stand out for creating a raw hate-filled assault, or a more avant-gardé sound, but a straight forward, no nonsense effort. The vocals aren’t that outstanding, but they’re affective enough. The production is much better than that of your average mid-90’s act which is undeniably a positive. Whilst this isn’t a forerunner for best album of the year, it’s an album that deserves praise. Perhaps not for the 10 minute instrumental which, in my eyes, serves no real purpose.