Archy Ivan Marshall; better known as “King Krule” – is a genius.

I think the sentence above sums up what Archy is. He’s been making music since 2010 and hasn’t stopped getting better; first releasing a few singles under his previous moniker: “Zoo Kid” which didn’t fully kick off his career. He released a few EPs here and there that never saw the light of day (which we aren’t going through in this review). Krule stayed relatively underground up until 2013 after releasing his first full-length album: “6 Feet Beneath The Moon”. This is where he found his cozy place within the music stratosphere; a blend of punk, jazz, lo-fi, sleepy RNB and some gnarly guitar solos mixed in.

King Krule’s music speaks to me. As it should to all other angsty 20-year-olds that think they’re cool (which King Krule is, now that I think about it). While visiting my hometown in Egypt a few months ago, a friend of mine had told me to listen to Krule’s second album: “The Ooz”. I had tried listening to Krule a few years ago and decided to revisit his album since it didn’t really sound put together to my ears. Once I started listening to more punk like Dead Kennedys, Algernon Cadwallader and Moss Icon, I began my Krule quest with a clearer idea of the sound he’s going for – and boy does he nail it.

This album though…it’s different in so many ways I don’t think I could list them all. It’s almost like the Myth of Sisyphus: a never-ending, futile struggle of laboring work. However, as Albert Camu (a French philosopher) put it best: imagine Sisyphus happy. The uphill battle is done out of love and appreciation for the enormous amount of artistic integrity, explorative methodology and random sensations of existential dread and blissful euphoria.

I’m going to focus on my favorite songs again on this one since most of the album has made it on my personal playlist. Kicking it off with “Cellular” which was released as a single to quell the anticipation for this album along with “Alone, Omen 3” and “(Don’t Let The Dragon) Draag On”. Cellular is the anthem of this album; reminiscing on past relationships and how he went wrong. The lyrics in this song are incredibly ambiguous and surreal, explaining all the faults and scenarios that split the couple up baked within obscure metaphors about a French girl being stuck in a TV while crying into Krule’s hands. The entire song sounds and feels like a whirlpool of despair; pulling you into the centre where the feeling of isolation peaks, then pushing you back out to put the pieces together and fully comprehend the magnitude of the situation. This song reminds me of “Blood Orange” by Agent Orange; minimal instrumentals, distorted vocals that drift in and out of tempo.

The next song is “Stoned Again” (which has officially become my anthem for the past couple of days). This song is all about losing power; having to depend on a drug to keep you sane based on old habits and a toxic relationship with self-image with a dash of childish humor and (yet again) a sensation of existential dread. Krule goes in more depth on a situation all stoners have gone through; smoking a little too much, pulling some dumb sh*t and getting kicked out of parks, then going back home to calm down from how high you got and doing the same thing a few days later (or the same day, depending on how cool you are). The musical direction this song goes for attempts to pull from stoner metal, while keeping the visceral, slow and grungy distortion very much alive.

The last song I’m reviewing is “Underclass” on the tail end of the album. This is where the entire album does a full 180 in feel: slower tempos, melodic hooks and heartfelt choruses. This tune has some socialist vibes, showing the vast and overwhelming divisions between socio-economic classes while still trying to find love within a broken system. Krule reveals his difficulties with commitment and intimacy, opening up about his relationship with Charlotte Patmore (girlfriend and mother of his child). As the song progresses, Krule comes to the realization that he wouldn’t be the man he is now if it wasn’t for his girlfriend and child, finally finding peace within his cynical view on society and the human state.

Overall, I think everyone that’s even slightly interested in punk or any of its sub-genres to give King Krule a shot; however, I don’t recommend starting with this record. Man Alive! requires a deeper understanding of Krule through his previous works. I think if you want to start with him, you should start with “The Ooz” which dropped in 2017. In particular, listen to “Biscuit Town”, “Dum Surfer”, “Slush Puppy” and “Lonely Blue”. Once you’ve listened to those, it’ll be much easier on the ears to listen to his newest album. All in all, this album deserves a much bigger spotlight. It’s a solid 8/10 in my books and I wouldn’t be surprised if you thought the same.