King Krule's The OOZ Gets Under Your Skin and Into Your Mind
    • MONDAY, OCTOBER 16, 2017

    • Posted by: Chris Deverell

    It had been four years since Archy Marshall released new music as King Krule. If it weren't for A New Place to Drown, released under his own name in 2015, one would be forgiven for wondering if he had plans to continue the King Krule sound. Shame on the doubters for questioning what was going on behind the closed doors of Marshall's mind.

    King Krule released The OOZ and it is apparent that it was worth the wait, including the album teasers "Dum Surfer" and "Czech One." It's easy to forget that Marshall was only a tender 19 years old when he released 6 Feet Beneath the Moon, yet in the time between now and then, it appears that time was spent honing all the elements that made his premiere album so great. The OOZ is a profound maturation of sound; taking what worked in the past, while trimming the fat to create an album that is impressively full-bodied for a sophomore release.

    As is the case, for those accustomed to the UK singer/producer's sound, The OOZ flirts wildly back and forth between genres, blurring sonic lines, daring you to try and pin it down to one sound. Marshall dances with a reckless abandon across jazz, dub, and trip hop, yet is tender footed enough to avoid making a mess of things. Brazenly mixing so many sounds should normally give you something of questionable quality, like a bad nu-metal band, but here Marshall is, creating something wholly and uniquely his. And to boot, it's actually really, really good.

    A lá "Lizard State" from 6 Feet Beneath the Moon, tracks like "Dum Surfer" pack a punk-infused punch, displaying an attitude that seems so contrary to Marshall's image yet feel so right. The production value is simply top-notch, and Krule's enigmatic sensuality is right where it needs to be in the warm, fuzzed out, jazz-lounge atmosphere created in tracks like "Lonely Blue" and "Czech One".

    The OOZ and King Krule are by nature a study in contrasts, conflict and synthesis. Sounds and moods careen and collide off one another spectacularly, only to come back and subtly intermingle again, wrapping themselves together to make something new. As brazen and bold as The OOZ is, it also surprisingly tender and intimate, and a real testament to the genius of Marshall.

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