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"This is not a King Krule album." These are the words that preface my listen to Archy Marshall's new album A New Place 2 Drown, who does sometimes go by the moniker King Krule. But then he used to go by the moniker Zoo Kid. And recently he's been going by the name of DJ JD Sports and, according to his Wikipedia, Edgar the Beatmaker and Lankslacks. So whilst 2013's 6 Feet Beneath the Moon was his first full length LP, A New Place 2 Drown is the debut of a different side of London's golden child.

It's poignant that the album is released under his actual name considering that it's part of a wider project, one that include a short film and a book, containing poems, short stories and photographs created by both him and older brother Jack. All three together help create a collage of sounds and sights experienced by two young men growing up split between Peckham and East Dulwich. It's a project that Archy clearly feels more personal than those previously, and one he wants to put himself at the front of.

His voice, his distinctive, gravelly baritone, though is not something which takes centre stage, instead allowing to be lost in the clicks, crackles and reverb that define the record. There's a reason that he's been insistent to distance this project from King Krule because, put simply, it's so different. Most obviously there's no guitars. The jazz chords that he so masterfully uses to build the sparse backdrop to his creations are still there, but piano-led and secondary to the drum beats. These impressive and immersive percussive tones are what define the album.

On 'Arise Dear Brother' hi-hats scatter across lazy chords, dragging the song along, seemingly impatient with Marshall's slow delivery as he drips, "I think I'm dying as I speak." The influence of rap, both the grime of Marshall's native London and that over in the US, is apparent on every sharp trill and thudding bass kick. It's no surprise that underground R&B wunderkid Corbin told i-D earlier this that he was "getting into Zoo Kid" and that Marshall saw Corbin in London when he visited. They both share the same spacey aesthetic, full of cold isolated drums, deep, cutting vocals and sparse arrangements.

The album captures the sound of London as well though. It's as much indebted to garage as it is American R&B, typified by 'Sex With Nobody''s rapid hi-hats and sharp snares. It turns Marshall's delivery when he spits out into something reminiscent of Mike Skinner, but after smoking a few spliffs, not dropping a few pills. Later on, the nearly entirely instrumental 'The Sea Liner Mk 1' has a subversively dancey beat, and shares a similar space with fellow Londoner Burial.

Like all his previous work, this is not an album to listen to casually. It's not to be played out of laptop speakers. Archy Marshall has recreated his world for you, a world that you're able to submerge yourself in. Just make sure you don't get lost in it.

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