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King Krule --

Marshall took to NTS Radio, hosted by Mount Kimbie, and released two songs under the name Edgar the Beatmaker. The first song is untitled, and the second is titled "When and Why".[17] In August 2017, Marshall released a new song entitled "Czech One". This was a King Krule release, the first since the release of his debut album in 2013. In September 2017, Marshall released a new song entitled "Dum Surfer", released under the name King Krule.[3] On 13 October, Marshall released his second full album The Ooz under King Krule. It included the singles released in the previous two months as well as 17 new songs. The album received positive reviews, and was ranked the #83 most discussed album of 2017 and the 75th most shared album of 2017 according to Metacritic.[3] The album ranked 23 out of 100 on Official Chart Ranking[18] and was ranked 8.7 out of 10 based on 56 ratings.[3] Pitchfork named the album the best rock album of 2017 and the third best album overall of 2017.[19][20] It was nominated for IMPALA's European Album of the Year Award.[21]

King Krule --

Many reviewers and journalists have noted King Krule's unusual transcendence and appropriation of disparate genres. His music has been described mainly with jazz derivatives such as punk jazz[26] and jazz fusion,[26] but also as darkwave,[27] post-punk and hip hop.[28] Writers have also noted elements of trip hop,[26][28][29] jazz rap and dub in some of his songs.[30] Jason Lymangrover of Allmusic states that his songs are mainly in the form of ballads with major seventh chords, but by contrast there is also a "grittiness" to Archy's voice and persona, portraying him as "the type of kid who would be quick to throw a punch without asking questions."[29]

Archy Marshall debuted as Zoo Kid when he was an actual kid and released his acclaimed first album -- under the presumably self-bestowed title King Krule -- before he turned 20. Marshall continued work on new material for years but was displeased with it, save for a set of mumbling-in-a-bucket hip-hop blues, A New Place 2 Drown, credited to his off-stage name. The Ooz, the artist's second King Krule album, surfaced -- or is that seeped out? -- four years after the first one. Compared to the debut, the songwriting is more refined and the sounds are more disparate, resulting in a sort of controlled chaos, a scuzzy mix of nervy neo-rockabilly projectiles, howling dirges, and noodling dive-lounge tunes. It's further distinguished with saxophonist Ignacio Salvadores' writhing bleats, continually in support of Marshall's scraggly guitar work and variety of voices, as liable to sound like his slumped natural self as an exaggeration of growling punks like the Clash's Paul Simonon or the Ruts' Malcolm Owen. Clear references are made to Marshall's previous full-lengths, and repeated allusions to water -- as in sinking -- as well as blue as a color and feeling, are likewise threaded throughout. Damp, suffocating city streets are never distant. When Marshall retreats to physical solitude, he can't leave his head -- not even with a prescription, a situation related in a whirling frenzy of insomniac agitation titled, naturally, "Emergency Blimp." Marshall is just as expressive and evocative when he keeps it guttural; "She smoked me whole and blows out Os," over decayed, dispirited bossa nova, passes like a wisp but could be the album's emotional center. Details that seem to provide levity -- "Man this band that's playin', is playing fucking trash" among them -- have a way of heightening the sense of inescapable dread. No matter that feeling, illustrated with one distressed scene after another, filtered through a multitude of inspirations and a few bodily fluids, The Ooz is a completely engrossing work from a one-off.

After the success of his first full length project, the young and expressive musician began to focus more on his production. Taking on the name Edgar The Beatmaker, Marshall started to experiment with hip-hop/electronic inspired beats and even rapping. He would release a couple of demos and an EP on his bandcamp under this identity. In 2015, A New Place 2 Drown dropped, foregoing the King Krule handle in favor of his given real name. Clearly being inspired by his previous side project, the album features a smooth and sleek Marshall on vocals with heavy hip-hop influence. The production had a variation of trip-hop and dance beats. With much more vocal manipulation and electronic soundscapes, this was definitely Archy at his most experimental than previous heard on any other King Krule album.

Dylan Rodriguez is a music enthusiast from Orange County, California who enjoys crying to sad songs and attending live gigs. Thinking about eating pasta is his most noteworthy talent. If you enjoy laughing at subpar content and unapologetic music takes, follow him on Twitter @dylanbruhriguez.

Archy:When I first saw snippets of the video, it was striking in the way it was made. The texture of the paper and the way the characters were moving was exciting. I hadn't seen anything like that.

Archy:That band was heavily influential to me. It made my music mature because you were older, you were playing really interesting structures and making way more interesting music than I thought I was.

Jack:We had our own little scene going on, 40 or 50 mates that would come down to most of our shows. There was no emphasis on what it was, nobody was thinking about a label for it. There was none of that "south east London" tag. Everyone was just doing their own thing.

Hidden behind a smoky wall of xx-nabbed aesthetics and an almost unlistenably irritating voice, King Krule doesn't really know why he's doing what he's doing, except perhaps for the steez of it all. There's a distinct lack of focus, with every one of his debut's 14 tracks playing somewhat like an unfinished draft. As a producer it has to be said that Krule's got a gift with these minimal beats and clean reverbed guitars, especially for a 19-year-old, but his talents are seemingly wasted on his own songs. That's not to mention the sneaking suspicion that the sound of the record could all be down to co-producer Rodaidh McDonald, whose credits include The xx, Adele and How to Dress Well.

'Out Getting Ribs' is arguably the finest moment of the record, capturing uncannily gorgeous picked guitar tones in discussion with a tale inside the mind of a moody, heartbroken London youth. His voice remains a demonic presence, though, and it's at its most pronounced here. It's not just the jarring juxtaposition of the record's atmospheric beauty with his ugly drawl (which might, after all, be deliberate), but also the contrast of 'songwriter's honesty' with Krule's image-obsession and self-absorption - of which we're constantly reminded, thanks to the sheer artifice of that fucking gobstopper-numbed pronunciation. So potentially stirring moments, like the mid-song crescendo of 'Has This Hit?', totter like failing meringue.

"I feel that the album is a very self-centered record, so I wanted to make it apparent that I'd been working on it throughout my life and it had aspects from when I was really young -- from my birth -- until now," Krule said. "So I wanted to cut it off at a very clear date of 19 years. That seemed the easiest way of doing it."

The uniqueness of Krule's sound may be what draws celebs like Earl Sweatshirt to tweet "yeah im listening to the new king krule album right now i dont rly care bout nothing else" after roundly bashing Jay Z's chart-topping Magna Carta Holy Grail. Or what's inspired musicians like Bey to include Krule in her Hot Links next to her favorite designers and vacation hot spots.

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