Archy Marshall has already amply demonstrated his talent and vision with The Ooz, highlighting his knack for blending jazz, post-punk, balladry, hip hop, gritty tone, organized chaos and deep sensuality. A schoolboy crooner, hungover bard, and dishevelled night owl, the young Englishman resurfaces with Man Alive! under the banner of King Krule. For those shaken by his previous recordings, this opus was eagerly awaited. The first listens of Man Alive! may not have the immediate impact of his previous efforts, given that he’s now a known quantity, but… the seeds of Man Alive! do finally sprout, slowly but surely.
As one might desire, baritone sax, jazzy guitars and occasional voices from beyond the grave are here, as are phone-message psalmodies and post-punk jolts. This approach is more broad, and less depressive and agitated than expected. It seems that Mr. Marshall is on the verge of becoming a father, dividing his time between South London and Cheshire, where he envisions a more peaceful existence with wife and child.
In a fit of newfound family-man orthodoxy, Marshall even confessed to wallowing in the “super bizarre” in The Ooz, to justify the reduction of contrasts in Man Alive! It’s a shame he’s so self-flagellating, because there will be those who judge this new offering, as sensual and fluid as it may be, as perhaps not “super bizarre” enough… although very successful, one has to admit over subsequent listens. And long live the family!
Tout le contenu 360
Interview classique
CMIM: Shira Gilbert et Zarin Mehta nous causent de l’édition Piano 2024
Par Alexandre Villemaire
Interview classique
Avant le coup d’envoi du CMIM, Chantal Poulin nous cause de l’édition Piano 2024
Par Alexandre Villemaire
Critique d'album Pop/expérimental / contemporain/Experimental / Contemporary/Folk/Americana 2024
N NAO – Miroir
Par Louise Jaunet
Interview Rock
Alex Henry Foster Talks About Overcoming Death and his new album, Kimiyo
Par Stephan Boissonneault
Interview Classical/classique
Information: Montreal Oct. 1970 by Tim Brady: a first opera about the October ’70 Crisis
Par Frédéric Cardin
Critique d'album Electronic/Hip Hop/hyperpop 2024
Single of the Day: Kaya Hoax ft. Magi Merlin “Hot Girls with ADD”
Par Stephan Boissonneault
Critique d'album Americana/Pop
Taylor Swift – The Tortured Poet Department: The Anthology
Par Alain Brunet
Critique d'album classique/musique traditionnelle/Classical/trad québécois 2024
Karina Gauvin – Marie Hubert : Fille du Roy
Par Frédéric Cardin
Interview Folk/Americana/Rock/hyperpop
P’tit Belliveau Talks About His New Album, Frogs, and Income Tax
Par Stephan Boissonneault
Interview Rock/Electronic/Experimental / Contemporary/expérimental / contemporain/Pop
At Annie-Claude Deschênes’ table: between utensils & sound experimentation
Par Louise Jaunet
Critique de concert Folk/Americana
Noah Kahan: An Emotive Performance with Goofy Banter
Par Serena Yang
Critique de concert
Université de Montréal | Jean-François Rivest’s Grandiose Farewell
Par Elena Mandolini
Interview classique/Jazz/Classical
OSL | Naomi Woo | Musique du Nouveau Monde
Par Alexandre Villemaire
Critique d'album classique/Jazz 2024
Nadia Labrie – Flute Passion – Claude Bolling : Suite for Flute and Jazz Piano Trio
Par Frédéric Cardin
Critique d'album Classical/classique 2024