Having gone pretty quiet, the interweb returned ablaze for King Krule recently with announcement that his 2013 debut LP, 6 Feet Beneath the Moon will be followed by The Ooz. It still has the bursting jazz and snappy drooling vocals of his debut but with a new sharp focus and grimy depth.
Vinyl Double LP £19.69 XL872LP
Black vinyl 2LP on XL Recordings.
- Only 1 copy left (1 person has this in their cart)
CD £8.23 XL872CD
CD on XL Recordings.
Limited Vinyl Double LP £18.99 XL872LPE
Limited edition blue / orange coloured vinyl 2LP on XL Recordings.
- Coloured vinyl
- Limited edition
Just when I thought I was getting a bit sick of his voice (check it on the recent Mount Kimbie) along comes 'the Ooz' to remind me that this bloodhound aping slobbery snarl works so much better with his own material. Despite sharing a manager with Adele, King Krule (aka fire haired miscreant Archy Marshall) his following his own idiosyncratic path and just as importantly is not rushing his career. It's been four years since his debut '6 Feet Beneath the Moon' during which time he's recorded under a series of pseudonyms but kept quiet with his main activity of being King Krule.
He's not going to make it easy for us. 'The Ooz' is a sprawling scattershot thing of eerie late night compositions that seem to take influence equally from jazz, hip-hop-, lo-fi guitar music and dub-step. It's truly unusual and testy and often frighteningly intense. 'The Locomotive' is incredible - it starts loosely with eerie jazzy guitar chords that sound like they've come from a Sonic Youth jam session before the song erupts as Marshall's voice explodes into the microphone. The can feel the spit on your face. This is Joe Strummer having an existential crisis amongst the industrial estates of 1970's London. On 'Dum Surfer' a torrent of vocals burst through the mesh of skittering drums and saxes and guitars. Also it could be true that Marshall is getting a bit sick of his voice too as he tries all sorts of different stylings here. 'Logos' sees it ocean deep, speaking Dean Blunt like over some gorgeous neon lit soul, each track seems to have a different voicing. On 'Lonely Blue' he attempts lop sided jazz one part Tom Waits one parts Prefab Sprout 'Swoon'.
It's a late night, drunken, bow-tie around your ankles sprawl of a record with an incredible barely supressed anger threatening to boil over into violence. The latter half is a real state at some points and not an easy listen. Perhaps over long and in need of a snip. Still, I can't wait to tuck in.
10/10 Joe 26th October 2017
Very good album, the sound was described very well in the newsletter which prompted me to buy and I can confirm the description was very accurate!
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