Big Murk: Uncovering the Sounds of Underground Amman

At just 24, Big Murk is one of Amman’s most versatile and uncompromising creatives, having carved out a distinct sound that is both unfiltered and resonant already. As a producer, MC, DJ, and drummer, the Jordanian-Palestinian artist is helping redefine what the region’s underground can sound like, one bassline at a time, capturing the pulse of a city still finding its sonic identity.

Music has always run deep in Big Murk’s bloodstream. “As a kid, my father was very into hip-hop,” he tells Dazed MENA. “He had 50 Cent CDs in the car, and OutKast, Missy Elliott, and Snoop Dogg playing on the BET channel on TV.” Those early sounds sparked a lifelong rhythm. He started beatboxing at 11, got his first drum kit soon after, and fell into the deep corners of underground music thanks to “unmonitored internet access” as a kid.

This enduring love for music evolved into shaping a distinct style. “Grime and the infamous SoundCloud trap era of 2016 were the two sounds that inspired me to make my own music,” he explains. The influence is evident. Big Murk’s tracks move with grime’s sharp, punchy percussion and the digital haze of trap, with a distinct flavour that grounds his work squarely in Amman’s underground scene. It’s not surprising, then, that he has also begun turning heads outside of Jordan in recent months. 

The producer has performed on international stages, including a line-up that included poet and musician James Massiah in Bristol. He has also shared a festival bill with fellow Jordanian DJ Toumba at a “star-studded” Draaimolen Festival roster in Tilburg. His music resonates with audiences and creatives alike. “Getting co-signs from OGs like D Double E and Sir Spyro was crazy for me,” he says, reflecting on the moments that have connected his sound to a wider global scene. Still, despite these global nods, his commitment remains local. “I view myself as a pioneer of the underground sound,” he explains. “I strive to produce music and performances at the highest level while still remaining true to my swag.”

For Big Murk, that means rejecting what he calls “the tone deaf habibification epidemic”, the overly westernised aesthetic that dominates much of Arabic pop culture. “I want to push more rough, unfiltered, and unconventional sounds,” he explains. It’s a mission rooted as much in community as rebellion. “I always try my best to work with people I resonate with—or at least support everyone I can, from artists to club nights to radios.” 

Perhaps it is natural, then, that Big Murk is deeply embedded in Amman’s music community. “There’s genuinely nothing coming out that isn’t on my radar,” he continues. His creative circle, especially Rknddn and Shbash, fuels his momentum. “Those two guys are my family,” he says. “We all have distinct and different styles, but there’s a common X-factor between us. We push each other to be better in the healthiest ways.”

Now, the Jordanian-Palestinian artist is entering a new phase. “I’ve been laying low on releases because of shows,” he shares. “But soon, I’ll be finishing a project I’m executive-producing for Rknddn, exploring my MC persona further with Toumba, working on a few solo singles, and producing for some of my favourite spitters.” 

For an artist whose sound was born out of curiosity, the future feels both grounded and limitless. “I’d like to inspire more musical innovation instead of just translating the newest genre trend into Arabic,” he adds. In Big Murk’s eyes, the underground isn’t about fitting in; it’s about making space for what doesn’t sound like anything else. And if the scene listens, Amman’s resonance might just echo far beyond its borders.