Synths, electronica and jangly guitars fill the open space which surrounds King Krule’s narration, somewhere between dystopian storytelling and rock and roll.
‘Ceiling’ exemplifies this, despite a slightly indistinguishable narration from Krule, the music is the standout success. ‘Baby Blue’ highlights Krule’s delicate voice and another facet of his talent. ‘A Lizard State’ picks up proceedings once more with an upbeat guitar intro which wakes up the album from the slumber which seems to prevail over the first seven songs.
Oddly, the rock and roll style guitar which opens the song, and the jazz feel which continues throughout, fits really well with Krule’s voice and the song flows in a way that many of the former songs are unable to achieve. ‘A Lizard State’ is one of the standout tracks from the album, but if listened to in isolation would give a skewed impression of 6 Feet Beneath The Moon.
The occasionally indistinguishable lyrics spoken in King Krule’s trademark gravelly tone work wonders for some of the songs on the album, whilst for others seem to be to the detriment of them. ‘Has This Hit?’ is probably the epitome of this, the song seeming to be hard listening in comparison to the rest.
King Krule’s album has a concentration upon production; using music to create different environments and settings for Krule’s lyrics. Whilst at many points within the album it feels like the addition of his voice jars the music, on a scattering of the songs the juxtaposition between his gravelly monotone and the light and cheerful backing creates something very interesting. ‘Ocean Bed’ is a great example of this, the music adds a depth and mood to Krule’s voice, and without which the album would be sorely lacking. The album is a mastery in production if not a standout showcasing of King Krule’s vocal talent.
A good start from the flame-haired youngster achieves 5/10:
6 Feet Beneath the Moon is out now on True Panther.