King Krule

The Ooz

XL

Released: 13th October 2017

2xLP - Indies Only Colour Vinyl£19.99Out of Stock


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One of the most celebrated figureheads on the independent British scene, Archy
Marshall returns with the dense, sprawling ‘The OOZ’, the much anticipated follow up
to his debut ‘Six Feet Beneath The Moon’. Drifting and seeping through the cracks of
South London like the album title, King Krule casts an unflinching eye over his
kingdom, transforming his observations of all the disorientation and heartbreak of his
youth into piercing narratives and poetry that are both startlingly honest and brutally
beautiful. With ‘The OOZ’, Marshall finally takes the crown as Poet Laureate for the
dazed and confused generation, painting a bleak and sometimes harrowing picture of
a rapidly splintering city. This autumn also sees Marshall hitting the road for a
worldwide tour this autumn.

Where 2013’s ‘Six Feet Beneath The Moon’ was a rigorous, rambling excavation of
Marshall’s expansive body of work to date, ‘The OOZ’ snaps into focus quickly and
sharply, his modus operandi coming into view almost immediately. Over jazzy
curlicues and guitars, the opener ‘Biscuit Town’ sets out its stall irresistibly as
Marshall sings about rapidly disintegrating romance and personal dissolution with
acute, almost painful detail. These wrenching themes of self-annihilation and fraying
relationships seem inextricably linked in Marshall’s eyes - once you lose yourself to
someone else, you inevitably wind up losing yourself completely when they leave -
and recur in other tracks. “Why’d you leave me? Because of my depression? You
used to complete me but I guess I learnt a lesson,” he spits on the roiling ‘Midnight
01 (Deep Sea Diver)’ and, even layered with the warm vocals of Okay Kaya, ‘Slush
Puppy’ is an unsparing dissection of a couple with nothing left to give, like a
Gainsbourg and Birkin ballad gone toxic.

Elsewhere, things only get darker, as Marshall desperately tries to find safe harbour
in the city he knows and loves, only to be thwarted constantly, as on ‘The Cadet
Leaps’ and ‘Czech One’. Not even the synthetic high of chemicals, as shown in
‘Emergency Blimp’ and ‘A Slide In (New Drugs)’, can stanch the suffering. Although seeming at first abstract, ‘The OOZ’ as a title proves oddly fitting. There are
references littered throughout about its physical manifestation, or as Marshall himself
says, “about earwax and snot and bodily fluids and skin and stuff that just comes out
of you on a day to day basis.” However, it works on a more figurative level too, with
‘The OOZ’ also representing the unknown depths or horizons the solitary mind can
travel to, whether it’s sinking into the deep sea or soaring through the night sky. It
may be messy, unwieldy, even unsightly, Marshall seems to say - but we need ‘The
OOZ’ in order to exist.