14 Songs, 52 Minutes

EDITORS’ NOTES

After King Krule's humble beginnings recording at home with free software (often leading to the loss of work when he exceeded trial periods), his debut full-length is definitively more congealed than his EP from two years earlier. Though his aesthetic is marked by a young-punk irreverence in both delivery and brooding lyrical content, the songwriting and musicianship at the core is strikingly mature and adept. Jazz chord changes are forced into a post-punk framework, as if Jim Hall were arranging for The Violent Femmes. The added touch of Archy Marshall's unexpectedly baritone vocals is the coup de grace that places King Krule in timeless territory.

EDITORS’ NOTES

After King Krule's humble beginnings recording at home with free software (often leading to the loss of work when he exceeded trial periods), his debut full-length is definitively more congealed than his EP from two years earlier. Though his aesthetic is marked by a young-punk irreverence in both delivery and brooding lyrical content, the songwriting and musicianship at the core is strikingly mature and adept. Jazz chord changes are forced into a post-punk framework, as if Jim Hall were arranging for The Violent Femmes. The added touch of Archy Marshall's unexpectedly baritone vocals is the coup de grace that places King Krule in timeless territory.

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