King Krule , aka Archie Marshall, has been the topic on people's lips for over three years now, to varying degrees of potency. Starting out, fresh into the Brit school as Zoo Kid, he didn't reach the same level of awareness as some of his fellow classmates - we can't all articulate the sickly emotional draw of Adele, can we?

To an extent, he wasn't a regular feature in music publications either. There was a snootiness about publishing someone who seemed to be a pawn for those glossy 'culture' magazines, forcing you to squint at the sight of him while thinking, "there's something about his Holborn fashion aesthetic, something about the way his ginger hair and matte pale skin in made to contrast on iD fashion editorial spreads - is he legitimate artist or the next Burberry model?"

With 6 Feet Beneath the Moon we can hear, loudly and clearly that he's not a muse, but the artist, teeming with talent and richly influenced by only the most innovate. Such is the nature of art; everyone is influenced by something but his ability to mould them into something that's his own, sets him apart - a distant cut above the rest.

The record begins with 'Easy, Easy', a pseudo punk record, that has you thinking that his deep guttural voice is actually the voice of a member of the Bromley Contingent in the 70s. The steady, simple guitar line sounds like water simmering on low hob heat, growing stronger and eggier and spilling over the edge, come chorus.

He's an impossibly mature writer, though with a tendency to slip into verboseness and slightly anachronistic lyrics. Still, lyrics like "…and I'm a disappointed soul, I tried to keep it in control," on 'Has it Hit?', make him sound more relatable though, more his age - that jilted post 18, spoilt and dissatisfied age - confirming him as a product of his generation.

Still, this is a minor concern, considering that the record features three previously released songs, some written seven years ago (when he was 12). The original version of 'Baby Blue', with its rustic and atmospheric production may be favoured by some, but he goes for a much cleaner finish for his debut album, opting for a trad-pop finish and shedding much of the beat drum line. 'Out Getting Ribs', has barely changed, it's just slicker and thus befitting of the sonic theme that runs throughout the album.

These records that caught our attention a couple of years ago, aren't even the best on this album. He's undoubtedly matured, not that what he listens to has changed much, but his ability to grasp and articulate what he wants to project and ascribe to King Krule has. The Dilla influence is perhaps most present on stand out track 'Neptune Estate', but as the understated jazz sax kicks in occasionally, you know that this is a Marshall meets Yancey record, rather than a Marshall does Yancey. "This world, it doesn't hold a fear/this girl, she doesn't hold a tear in my head, the brain lives on but the vibes are dead," is a lyric that's reminiscent of Bukowskian nihilism and selfishness; the way Krule delivers it packs a punch to the gut, so disarmingly strong.

It's easy to conclude that this 6 Feet Beneath the Moon exhibits someone who is 'wise beyond his years'. That's not so. What it show's is someone who experiences the same things that the average 18-year-old experiences, but as widely read he is, and as wide ranging his musical influences are, coupled with a talent for tactile articulation, he is able to make a gem of a record - one that truly encapsulates the essence of King Krule.