The OOZ - King Krule (2017)

I keep coming up with comparisons to other artists when I’m writing about King Krule. That’s a bit funny, because I think this record is highly original, and notable specifically because it doesn’t sound like a lot else. So I’ll leave my early Beck and Tyler The Creator comparisons and rantings about new genres for another time. I’m trying to listen to what’s in front of me, but it’s been a weird morning and I’m inside my own head too much.

For all the ways it sounds like the guy just doesn’t know or care what he’s doing, it all masks some very highly musical ideas. Clunking drum machines, romantic saxophone, slightly detuned or disonant chords, and wonky unpolished vocals all mix together into something that’s easy to dismiss if you’re not paying attention. But once you’re listening you hear how everything actually falls into place. It all makes a stew of R&B, hip hop, and indie rock that works really well overall, even if the individual parts seem mismatched.

Tracks I Liked:

Biscuit Town - The record in a nutshell. It starts unevenly, letting you you find your balance, but quickly solidifies into a chill, sleazy, catchy groove

Dum Surfer - straight-ahead rocker, but filtered through King Krule’s mental echo chamber and his physical effects array.

Vidual - a tossed off surf rock lark that breaks up the more challenging stuff

Cadet Limbo - some free association music-critic shit for you: this is deconstructed yacht rock, like three raccoons in a trenchcoat pretending to be Steely Dan; guys-wearing-linen-suits-in-a-rowboat rock.