A differing twist to a time tested musical style is always welcome to these ears. Finland’s Lurk fancied a one of a kind pathway into the sludge/doom spectrum, infusing a pensive melancholic mood to crawling guitars and gravelly vocal bellows. Now a decade-and-a-half into their career, minor adjustments have been made to their sound, but their ethos remains the same. With their fourth full-length Aegis upon us, the downtrodden quartet is here to once again transport us via their brand of ethereal soundscapes.
If Neurosis decided to play a step slower and got a little weird with it, we’d have a rudimentary description of what Lurk is up to. As always, the devil is in the details, and there are many layers of them to peel back and discover. A sizable Asphyx-like tone on the menacing opening riff of “Ashlands” starts the album on a particularly direct note. Menacing stuff, of which those who emanate towards crushing death metal undertones with their plodding doom will lap right up. The song does take a twist in the last minute or so, pushed by a stinging melody without losing the already established forcefulness. A crawling, dark essence immediately takes hold on “Shepherd’s Ravine,” with a thick pulsating bass line (Eetu Nurmi is a force) and acoustic strums protruding a delicate somberness. A level of abrasiveness does soon kick in, though much in a subdued fashion that serves the track well, helping to maintain an aura of foreboding.
Moving forward, “Infidel” feels like a continuation of the previous track’s disposition, highlighted by disgustingly murky synths and streamlined rhythms that make every single note count. Vocalist Kimmo Koskinen’s blood curdling screams are well pronounced, adding a harsh tonality that delivers robust balance. Once a clean guitar intro passes, “Hauta” settles into riff-driven death/doom territory enshrouded by a foggy atmosphere. How Koskinen bends his voice into a wide variety of screeches and screams on this offering is impressive as it is unsettling. A personal standout is the dynamic “Blood Surge,” emitting a precise balance of memorable guitar licks, emotive leads, and all-out crunch of the riffage, while weaving between brooding cloudiness and untethered urgency. A tranquil instrumental in “Kehto” serves as the lead into “The Blooming” and its cryptic ambiance. Certainly an engaging finale, containing multiple time changes accentuated by tremolo picked leads and blackened atmospheres, resulting in the most differentiating track on Aegis.
A defining characteristic of Aegis is the diversified guitar playing, of which boasts a higher degree of expansiveness than on Fringe. From the melodious and sedated to rumbling muted rhythms, the band has ascended to a higher plane of creative output. Main guitarist Arttu Pulkkinen, along with contributions from vocalist Koskinen and drummer Kalle Nurmi, all added guitar tracks, and the result is harmonious. Speaking of Kalle Nurmi – his drumming is the glue that sets the course, continuing to be a key factor of Lurk’s success.
The formula that Lurk cultivates has added new variables to the equation, resulting in the band’s most compelling release thus far. There aren’t significant changes, mind you, but just enough forward movement to keep proceedings exciting. There is zero doubt that Aegis further cements Lurk’s mysterious atmospheric approach with vigor, of which is required listening for any lover of eclectic and filthy doom metal.