After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with another wondrous long-player called ‘Man Alive!’. It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation.

Born in Charlotte, North Carolina, Kelsey Lu left home at 18 to study cello. Now based in New York, she has collaborated with, and contributed to albums from, many of her peers including Blood Orange, Kelela, Wet and Organized Noize.
The EP’s title comes from its unique recording process—Kelsey Lu recorded live in a single take at the Holy Family Roman Catholic Church in Greenpoint, Brooklyn with her cello, her voice and her loop pedal.

Lauren Auder is a British-French singer-songwriter and record producer. Born in Watford and raised in the French town of Albi, she began her career producing for underground French and English rap artists.

“I remember being in the mall, and pop music is just everywhere,” says O’Connor, who grew up in the San Diego suburb of San Marcos. From his earliest memories, he was enamored with the textures of pop songs, but had a gnawing distaste for their lyrics. “I remember feeling that this certain kind of person is talking about certain experiences—and I feel like they’re lying to me. Making O∆ was about two things. It was an album like a movie about where I was from and how it really was. I didn’t want it to be a filtered story the way most pop music is. I wanted it to be real. I guess in other music people aren’t talking about the things that I notice about life or the things that are really important to me. How I feel actually being here. I wanted to express those things. But it was also about me needing to breathe and make a place in this world where I could live safely. Safely in a world where I could be myself - and survive.”
A remastered version of O∆ will be released physically and digitally February 17 on True Panther Sounds. London is currently traveling and continuing work on his self produced follow up album.

★「Blue Wave」风格创始者，从Beyoncé至BBC Music全面力捧伦敦90后天才唱作人最新专辑。
★蓝调、灵魂、爵士、迷幻、庞克、嘻哈；下意识、印象派、梦与秽物，爱情。融合、融合、再融合。
2013年，Archy Marshall将最精华的作品通通献给他众多化名之一的King Krule，发表专辑《6 Feet Beneath the Moon》，20岁屁孩从此震撼全球各类型音乐人，他宛如Morrissey的月之暗面，可以满嘴粗俗脏话、也能自上流艺术与文学中有所情感触动。自The Smiths、《猜火车》到现在，伦敦（或整个人类世界）依旧向下沉沦，市井的无奈，被他写得美丽如奥德赛诗句。他是我们期待已久的新英雄。
大量巡回与各方邀约合作大量消耗他的精力，虽然和画家哥哥合作、结合诗与艺术书的专辑《A New Place 2 Drown》评价很好，但Archy仍遇上撞墙期，没有满意的作品足用King Krule为名发表，和Frank Ocean的合作因成果不佳亦无疾而终。他把注意力转向人类日常，一些下意识产出，如排泄物、耳垢、口水、鼻水、毛发，被人们当作污垢的东西，还有他的异国爱欲，充塞在脑袋中搅和，成就这张超现实意象、印象派音乐、意识流破碎语句、多国语系的新专辑。
《The OOZ》中传统结构的歌曲不多，艺术性很强，想听他招牌「Blue Wave」风格可以从专辑最末的〈The OOZ〉、〈Midnight 01 (Deep Sea Diver)〉、〈La Lune〉开始，爵士风味更强，色彩更蓝更黑；再深沉一点，〈Slush Puppy〉、〈Lonely Blue〉可以踏触到他的忧郁及苦痛，进而到焦躁的〈Emergency Blimp〉、〈Half Man Half Shark〉，像是Sonic Youth与Fela Kuti终于合作了一样。
与其说灵感枯竭困扰着Archy，他承认经历了一段心意没有得到回复的恋情，写在《The OOZ》的好几首歌曲当中，所以整张专辑更像是Archy的爱情悲歌。首支单曲〈Czech One〉的MV中，外着飞机窗外的他，如果你有真正爱过，你会懂他的表情，虽然痛，但沉溺且享受，没有尽头般地分泌浪漫激素。

A New Place 2 Drown is the second album by English singer-songwriter Archy Marshall better known by his stage name King Krule. It was released on 10 December 2015. The album accompany a book also named A New Place 2 Drown that showcases the poetry and artwork of Archy and his older brother Jack.

Dark Red is the second full-length album from Shlohmo, aka 25 year-old Los Angeles native Henry Laufer. The record is an uncanny marriage of his ever-evolving, richly textured sound with shades of ’90s IDM, R&B, cassette-tape Jungle, and, in an unexpected turn, sludge metal. “It sounds like if Electric Wizard tried to make an R&B record,” he says, “or Boards of Canada meets Burzum by the River Styx.”
Shlohmo’s music thus far exists in the poles between the subtly textured tracks of Bad Vibes and the booming sinister synths and hi-hats of his production work and remixes (such as his split EP with Jeremih, Banks’ “Brain”, remixes for Drake + The Weeknd). Dark Red utilizes Shlohmo’s existing palate but also mines the noises and imperfections inherent in analog production and naturally damaged sounds. Side-stepping current trends that lean towards pristine, computer-generated production, Dark Red explores natural distortion, fuzz and noise as compositional tools, intentionally distressing sounds to echo the feeling of the icy menace and emotional charge found on early black metal tapes. The result is a deeply personal listen, Shlohmo’s boldest statement yet.
This isn’t an album which fades into the shadows. The eerie, squalling synths of “Ten Days of Falling” usher in a world of phosphorescent disintegration and decay; from the looming claustrophobia of new single “Buried” to the minimalist pindrop orchestration of “Remains” and the carnal hum of “Ditch”, there is palpable anxiety and discord. “Relentless” and “Slow Descent” explore an internal sense of pain and sorrow that adds a stark emotional charge to the record.
Laufer explains:
“When I started working on Dark Red about two and a half years ago, I had just moved back to LA and built a small studio in my apartment, mostly with my dad’s old gear from the 80s. I had just lost some people close to me and was dealing with another loved one’s health issues. I was all over the place mentally, and I think it reflects in this record whether I like it or not.
The only thing I did know going into it, was that I wanted this one to be loud, and not just loud but really really f***ing loud. I wanted the sound of the thing to be devastating and violent. Recordings that force you to feel something even if that something isn’t good. I’m proud to have made something polarizing, a record that’s strong and undeniable even in its moments of pure anxiety and confusion. It’s tragic and painful at times, but that’s all part of it and I want that to be heard and felt. You don’t have to like it, just listen to it.”