![]() Recorded with Salvadores and co-producer Dilip Harris, the new album also provides some of his best songwriting. Field recordings crash down on Energy Fleets Marshall’s gnarly, Rocky Erickson-like riff on Stoned Again’s chorus is met head-on with gusts of Argentinian saxophonist Ignacio Salvadores’ instrument Theme For The Cross opens up dramatically with undulating synths similar to the way Kanye West’s Ultralight Beam beat surges to life. His songs and productions have always been grayscale and squalid, and this album is no different. Partly because of the brashness of some of the opening songs, Man Alive!, the 25-year-old’s third album as King Krule, is a livelier record than his debut and more streamlined than his last. ![]() And though these swampily mixed songs were isolationist and intensely personal, they were also gently swooning, swimming in oceans of melody and theatrical vocals. His music – tender jazz chords, jagged guitar lines, post-dubstep moans – radiated a profound sense of sadness. The gangly, red-haired rouge’s 2013 debut, 6 Feet Beneath the Moon – as well the trip-hop-indebted A New Place To Drown (2015) – built on this drifting, unformed style, which rummaged through the closets of jazz, rap, punk, dub, and new wave. Yet it retained – and deformed – that slightly haunting Chet Baker-meets-Burial sound he had first tinkered around with as Zoo Kid (the teenager moniker he adopted in 2010). A thrilling, directionless ride through his mind, it should’ve been impenetrable. This gunk stream came in the form of The OOZ, the nocturnal singer-songwriter’s sprawling second album. ![]() A 67-minute-long piece of art about “gunk” seems like an album conceit thought up by a sludge metal band (or perhaps an audiovisual exhibition by a contemporary artist at Tate Modern).īut ever since Archy Marshall came to prominence early last decade, his King Krule character has allowed him safe passage into an urban netherworld, a place where noxious brain “gunk” like depression, anxiety, and insomnia hang heavy.
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