King Krule: “Man Alive” (Album Review)

Genres: Art Rock, Post-Punk, Neo-Psychedelia 

        After the release of The OOZ in 2017, many were left excited to see what Archy Marshall, as King Krule, would do moving forward. 2020’s Man Alive proved to be a shock even to those who were excited and awaiting this next album. Although I wouldn’t say that Marshall shows a new side of himself on this record, he ventures farther into tenderness and tranquility than ever before. This new focus is, in part, due to becoming a father, which isn’t really directly mentioned on the album but shapes the songs through a transformed worldview. Man Alive is an inside look at how Marshall feels about himself and the world around him.

        Going through Marshall’s discography, from King Krule and all his other monikers, one can clearly tell that Man Alive is separate from the rest. This is Archy at his most hopeful, reflected through the instrumentation and lyrics. Even still, Man Alive is not endlessly hopeful, with Marshall describing his dark feelings and broken environment. It’s a two-sided coin, where both emotional states are embraced. At its core, Man Alive is an album of acceptance through a new understanding.

        We see the depths of Marshall’s despair on multiple tracks, such as on “Comet Face”, which music video sees him as a werewolf, and on “(Don’t Let the Dragon) Draag On”, where he is unable to leave his room in his depressed state. However, there is optimism despite this, as Marshall takes a look at both his lows and his highs. This balanced approach is seen in “Perfecto Miserable”, where his feelings of worthlessness are contrasted with someone he sees as perfect. No matter what emotion is at the forefront, there is always a mix of other feelings around and Man Alive exemplifies this beautifully. “Energy Fleets” is the climax of this emotional buildup, showcasing the result of having such a nuanced take on the world. Placing this melancholic, yet extremely encouraging, song toward the end of the album really helps to sell it as a full project. It’s the summation of the ideas Marshall has been communicating all throughout the record. The repetition of the phrase that could be either “such a funny life” or “such a funny lie” serves as a great conclusion to the album. While this isn’t Man Alive’s last track, it does feel like its natural ending, taking advantage of the tone developed by Marshall. 

        Marshall’s skill of creating an atmospheric landscape for his music was displayed wonderfully on The OOZ and nearly perfected on Man Alive. Through the use of sound effects and non-musical elements, the listener is almost paradoxically brought closer to the music. The voicemail at the end of “Comet Face” makes you feel as if you’re right in the studio recording with Marshall. This even becomes somewhat of a motif, with an automated voicemail starting off the track “Perfecto Miserable,” and the sound of a phone ringing on multiple songs. Sounds of rain and thunder on "Airport Antenatal Airport," add to the concept of the track. Even the background chatter on the album helps in giving it texture. All of these elements never become too distracting, but become part of the music by adding depth. 

        While the atmosphere of Man Alive was carefully cultivated, I feel as if the cohesion of the album isn’t fully there. Some of the more aggressive tracks make for an awkward fit, even clashing against one another. The run from "Cellular" to "Stoned Again" feels especially disjointed. With how smooth the other transitions are, this rocky start is made much more noticeable. As part of building a certain kind of atmosphere, many songs on Man Alive flow into each other and are made better by listening to the album as a whole. This isn’t to say that these songs have no sense of finality to them, but instead that they work in service to the record as a whole. “Supermarché” is a track that misses the mark in this regard. It comes off as too strong and doesn’t go anywhere, instead ending up uncomfortably lingering. For the most part, Man Alive works as a singular connected piece, but the presence of moments that just don’t work is undeniable. 

        Man Alive is the expression of Marshall’s world in the present. His insecurities and belief in his personal demons carry over from previous albums, but they’re distilled through his casual acceptance and hopefulness toward what he sees. This is the creation of peace, or at least the attempt to do so, by searching for the good within the dark parts of himself, or his environment. One such example of this is his description of finding a lover “under the underclass” on “Underclass”. Whereas The OOZ is about the conscious and unconscious secretion of waste, Man Alive focuses on the intimate expression of how Marshall sees humanity. It’s an introspective look at life that he shares with the listener. Listening to Man Alive makes me feel more in touch with the way I myself perceive the world, if not only slightly. King Krule has always made music for the emotional, and this album is no exception. The empathetic nature of Man Alive makes it a fascinatingly touching record.

Favorite Tracks: Energy Fleets, (Don’t Let The Dragon) Draag On, Underclass, Alone Omen, 3, Comet Face, Theme for the Cross, Airport Antenatal Airport, Perfecto Miserable, Slinky, Stoned Again, The Dream

Least Favorites: Supermarché

Enjoyment: Mid 8
Critically: Mid 8
Arbitrary Number: 8.4/10