The release appears on Swedish based noise label Ominous Recordings, and comes in an edition of twenty copies, plus a digital download. The labelled cassette features a bleak & moody picture of a grim landscape & horizon. The monochrome cover features a bearded & hooded face coming out of darkness, and grey texts against a black ground. All in all a nicely fitting, simple, yet well conceived look for the bleakly persistent yet texturally appealing ‘walls’ with-in.

Apparently all the ‘walls’ on Murk where created using microphone  interference, and where created in real time. The tracks are named simply with roman numerals- so  opening proceedings we have “I”. This  brings together a taut ‘n’ chopping low-end juddering, with a selection of thinner-yet-focused rattles, slides, and knocks. To start with the whole thing batters into your ears with its brunt & bubbling low-end, but as time ticks by you start to notice more & more of the smaller sub-tone details that are sharing the tracks densely filled sonic space. The low-end remains fairly focused in it’s setting, though you do seemingly get adjustment in the thinner & smaller element.
It’s a great boisterous–yet-brutal start to proceedings, and the layer details really keep you firmly fixed into the track, after you become accustomed to the low-end centre of the track.

Moving onto “II”, and we get a blend of several tensioned & tightly roasting/ flame like textures- all fed together to create a nicely constricting & airless wall. We have: a low-end slightly beaded rumble, a constantly descending judder, a hissing crispness, and a taut spluttering jitter. All the elements here feel fairly firm & set in there unfold, yet they are quite a few layers present here, so it never losses ones attention.

“III” brings together a selection of insect like rattling textures, with battering judder, and circular chopping like element. This track feels quite densely machine like in its set yet entranced detail, though from time-to-time a few textures do seem to slightly vary, though that maybe be my imagination.

Lastly of course we have “IV”, and this is the longest of all four tracks at spot on the nineteen minute mark. This is a very detailed bit of ‘wall-craft’, which brings together the following: a beaded & constant judder, a on/off hissing & snapping textures, a selection of smaller scraping & knocking textures, and the occasional sharper/ thinner mid-ranged slicing tone. As the track progress there are even smaller textural details added into the very dense yet layer defined wave of the track.  Yet in never loses it initial focuses & over-all sonic identity. All in all it’s a great attention focusing end to proceedings, and due to its nuanced layers of texture, it stands us one of my favourite moment here.

So in summing up Murk- we have a good & very tooled selection of four ‘walls’, that are each distinctive, yet work well together. Added to this we have simple yet darkly moody & effective  packaging. All making this another very appealing release from this up & coming Russian walled-noise project.