A little french dream, after the war as jazz oozed into the city. In the moment when rock overtook jazz now juxtaposed by jazz overtaking rock on the shoulders of hip-hop and in between the skirts of whatever is going on here. Dystopia music almost, a post-everything tied together with jazz tones that shape its audio world. This record is The OOZ all settled in. Less grand ideas, a more palatable portion of its sound.
Its instrumentation is King Krule's voice transcribed. In its abstract, broken beauty jarring at first but a sound that feels fathered by great parents of sound, Miles Davis crash landing into Tom Waits. Lyrically, this album stands as Krule's best as it seems more mature, less drowned in nihilism. I do, however, wish that the best parts of "The OOZ" and Man Alive! fucked, these dual albums tied together in mood are becoming a common approach for artists in the jazz morphing business and I wonder where does it lead? To the continued sprawl of rock? or a continued revisiting of a sound until everything repeats? Its weird because the music is gorgeous, but what made The OOZ so interesting was its unique amalgamation of sound, in the same way, Atrocity Exhibition by Danny Brown was. But now, here we have just a repeated magic trick for both artists on their follow-up records.
I think that Man Alive! may very well be a better record than The OOZ, but because it came after, the power of its composition not as immediate. its grand world already familiar, even though this improves on the formula introduced by The OOZ the feeling of hearing a gorgeous sax in this soundscape remains attached to the previous record on not this. On the positive side, I'm going to have a great time listening to this record for the rest of the year and colliding the two albums into one another.