![]() ![]() A record strewn with familiar depressive lyrical motifs and freaky little touches opens with the jazzy groove of ‘Biscuit Town’, which rhymes “bipolar”, “Motorola” and “Gianfranco Zola”, and breaks down into a stutter of irregular percussion. ![]() And so it goes on ‘The Ooz’, which he named after the human body’s natural secretions, or “gunk”. Incidentally, Ocean sought out Marshall to work on 2016’s ‘Blonde’, only for the sessions to break down.īut Marshall has always been better off alone, defiant yet vulnerable at the centre of songs like 2013 breakout ‘Out Getting Ribs’. His vocals – guttural, electric and still the star of the show – seep from the cracks of songs sketched from jazz, punk, hip-hop, bossa nova and the ambient drift favoured by Dean Blunt and Frank Ocean. Conceived after a weed-addled period of writer’s block, ‘The Ooz’ – his swampy, 19-track new record – is a blackened document of paranoia, relationship breakdown and more sleepless nights. Now 23, the south London singer with the ghostly pallor and a throat like a cement mixer sounds as insular and conflicted as ever. That song featured on ‘6 Feet Beneath The Moon’, his debut album as King Krule. Four years ago, on ‘Cementality’, he sang, “ Brain, leave me be / Can’t you see these eyes are shut”. Welcome back inside Archy Marshall’s mind. ![]()
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