King Krule’s second LP ‘The OOZ’ is a confirmation of the neo-soul wisps smoking from the fires of London’s youth. The OOZ is an immersive progression from 6 Feet Beneath The Moon but still gives attention back to the loveable rogue alias -King Krule- we know so well. The combination of electric and acoustic sounds suits King Krule in his mild reluctance to conform to one genre. This seems like an intelligent way to navigate the modern music world.
King Krule’s (Archy’s) voice is an acquired taste. I have friends who say that they don’t like his music because they find his voice slightly irritating, however I really like it. It holds an interesting power and presence that twists hauntingly between his basslines. Also, I doubt the sound of urban melancholy, that King Krule’s music creates would be so attractive if he focused on respecting the melody more than letting emotion alter the tone of his voice. After all, to enjoy King Krule’s music I think you must be able to wallow in a bit of self-pity… maybe that’s what makes it sound so resonant to Londoners…
I hear greater variety in King Krule’s instrumentation on this album, perhaps this is due to the greater independence he has on the production. Either way, it’s a welcome and natural change in the development of his sound. Every song is a new experience and insight into Archie’s mind that I listen to gladly. The OOZ is a product of a man with diverse music taste. I may be wrong in saying that Archie isn’t trying to please anyone but himself, but that’s what I grasp from his work. Archie doesn’t fall in to any obvious traps or categories; he dips in and out of genres and sounds effortlessly, whilst retaining wide-scale appeal.
‘Dum Surfer’ mixes beach-y guitar riffs with vocals that sound like they belong in 1930’s Brighton. ‘Logos’ is wise and beautifully composed whilst ‘A slide in’ is a volatile tune where at the start we feel at a distance from Archy but soon a new voice approaches us. It feels vulnerable, sweet and melodic. Then the song cuts off abruptly and ‘Vidual’s groove enters the conversation. It has strong artful dodger/scoundrel vibes with screaming vocals that I feel are inspired by Archie’s love for the Pixies frontman, Frank Black. ‘Bermondsey Bosom’ espouses a modern-day Bonnie and Clyde narrative. This song is perhaps the clearest move from the 6 Feet Beneath the Moon days. The ‘punki-ier’ sections of the album maintain its pace with ‘Emergency Blimp’ a welcome energy in the album’s journey. I particularly enjoyed the jazz influences of the album and the more frequent presence of the saxophone.
The diversity of moods that the album offers hand King Krule a timelessness that we haven’t seen before. Archie clearly understands the beauty and efficacy of simplicity. The OOZ is rightfully subtle when it needs to be. But don’t get me wrong, the album is also tantalizingly turbulent. I hear almost everything I want in an album: progression and personality. King Krule could have easily fallen in to the trap of replicating the widely praised 6 Feet Beneath Moon. Yet this album shows us his musical progression and desire to develop his own place in the industry. Whether you like King Krule or not, I think it’s universal to at least commend his musical integrity after The OOZ. It’s length does not lack quality or variety, the album is intensely interesting. If I’m being honest with you my initial reaction was; lord give me strength: this shit is good.