King Krule builds on his strengths for a compelling new work

Following the release of The OOZ’s first single ‘Czech One’, it was clear that Archy Marshall – a.k.a King Krule’s – latest effort was going to be anything but predictable.

The OOZ marks the timely return of the 23-year-old musician, who has dabbled in hip-hop and lo-fi rock under the guises of Edgar the Beatmaker and Zoo Kid. King Krule is Marshall’s most extensive, and perhaps most realised musical project, fusing elements of indie rock, punk, and jazz. King Krule’s 2013 debut album 6 Feet Beneath the Moon displayed Marshall’s talent for writing evocative and catchy songs from his wealth of experiences. The OOZ follows similarly, but marks a considerable evolution in Marshall’s abilities to create soundscapes and moods. Many of the songs detail Marshall’s nightly romances and subsequent feelings of isolation and doubt, told through the powerful imagery conjured by fractured lyrics.

King Krule is Marshall’s most extensive, and perhaps most realised musical project, fusing elements of indie rock, punk, and jazz

The planetary theme explored in his first album returns here, often to express the scale of torment that inhabits Marshall’s mind. In ‘Cadet Limbo’, Marshall sings of feeling “lost in space” whilst contemplating the beauty of an ex-lover and the relationship they once shared. On ‘Czech One’ he becomes more existential, talking of “tiny men” being “absorbed for questioning the sky”. This recurring imagery is used disparately, rarely overstaying its welcome or becoming heavy-handed.

‘Logos’ and ‘Dum Surfer’ offer more grounded images and stories. In the former, Marshall sings “I caught my mum, she stumbles home”, hinting at memories of a troubled childhood still occupying his thoughts. ‘Dum Surfer’ presents a grittier take on Marshall’s nights out, where he reflects on “puke on pavement slabs” and his brain feeling like “potato mash”, showing that Marshall can comfortably glide between tenderness and crudity.

…Marshall can comfortably glide between tenderness and crudity

The guitar remains the only consistent instrument in every track, typically reverberated to give it an ungrounded, moody sound reminiscent of punk and post-punk styles. ‘Emergency Blimp’ and ‘Half Man Half Shark’ offer ferocious injections of energy between sombre tunes like ‘Slush Puppy’ and ‘The Ooz’. Jazz also acts as an undercurrent for the album, from the central saxophone on ‘Logos’ to the sporadic use of piano on ‘Cadet Limbo’. The merging of the two styles creates an interesting contrast; the album wouldn’t feel out of place in a late-night city bar, but retains the rough-edge integral to King Krule’s persona.

In all, The OOZ  shows the effectiveness of albums as a cohesive project instead of as a collection of singles. The album’s lyrical and musical content help to convey Marshall’s moods and memories in a way that’s vague and poetic enough to be relatable to listeners. The sound may be a little too similar to his previous album, but it feels more comfortable and organic here. Whilst The OOZ may not be an easy album for those who aren’t already on board with King Krule’s style, it will certainly appeal to fans or those who are after something more experimental and unique.