King Krule

Collective Concerts Presents

King Krule


Wed, September 11, 2013

8:00 pm


Toronto, ON


Sold Out

This event is 19 and over

The show has been moved from the Drake to Wrongbar. All Tickets are honoured.

Advance Tickets available at: Rotate This and Soundscapes Music

King Krule - (Set time: 10:15 PM)
King Krule
Six Feet Beneath The Moon is the long-anticipated debut album from Southeast London’s King Krule.
Archy Marshall, aka King Krule, broke out two years ago at the tender age of 16 with his eponymous EP
released on True Panther.
Six Feet Beneath The Moon takes the potential evident in the EP and blows it out of the water. Across 14
tracks Archy expertly weaves incredible stories of London life, his own relationships and experiences with
the swagger of a street poet, all in his incredibly distinct smoky baritone. The album, recorded mostly near
Archy’s South London home with producer Rodaidh McDonnell (The xx, Savages, How To Dress Well) is
stark but incredibly rich - painting with a pallate full of hip hop, jazz, no-wave and poetic influences.
The album shares the eclectic confidence of some of the last decade’s most important debuts - Arctic
Monkeys’ Whatever People Say I Am, That’s What I’m Not’, The Streets’ Original Pirate Material and
Dizzee Rascal’s Boy In Da Corner. It is somehow both a perfect summary of a young man’s life in a
particular part of London and a universal, deeply moving and compelling statement. Most importantly, it’s a
voice that is sure to be with us for quite some time.
King Krule will be playing residencies in New York and Los Angeles this September with a Toronto showcase confirmed for Sept. 11th
at The Drake Hotel. A North America wide tour in November-December will include numerous late night TV appearances
as well as live radio and video sessions.
A Video for “Easy Easy” is also coming.
Visit for the latest

Now comes 6 Feet Beneath the Moon, his first full-length on True Panther Sounds/XL Recordings, and with it, the much anticipated unveiling of the full scope and scale of Marshall’s vision. Over the course of 14 tracks, Marshall’s passions and confusions are rubbed raw and laid bare, the only connective tissue throughout it all being one of searing lyrical clarity paired with a confounding musical deftness which utterly belies his tender years. From the opening clarion call of “Easy, Easy” it is abundantly clear that this is a breathtakingly bold and arresting sonic worldview, as his songs, produced by Marshall along with Rodaidh McDonald (The XX, Savages), open up to become a loose knit meditation on regret and discontent, loss of faith and renewal of hope, and optimism in the face of desperation.
Eschewing much of his previously released material, 6 Feet Beneath the Moon firmly yet soundly rejects any notion of contemporary trends or peers to occupy its very own unique place on the music landscape, oscillating gently between the classic 50′s soul of Gene Vincent and Elvis Presley to the minimal, avant-garde experimentation of Penguin Cafe Orchestra, to even the electronic smog and dub textures of Marshall’s beloved Rinse FM. This is a record where the nakedly bluesy stomp of the likes of “A Lizard State” and “Easy, Easy” sit effortlessly next to the
low-end frequency and shimmering beats of “Neptune Estate” and “Will I Come,” after all. It is reflective as much of Marshall’s own eclectic tastes as it is of the frenetic pulse and rhythm of the city around him, particularly the rapidly changing south-east areas in which he grew up. There is a genuine grittiness and world weariness ingrained here, as exemplified so succinctly when Marshall sings, “Hate…runs through my blood” on the stunning “Out Getting Ribs,” the track which started all the fuss.
All these esoteric textures and fidgety, off-kilter rhythms make perfect sense as an album however, especially when you consider that incredible voice. Whether he is singing ruefully of youthful disaffection and “the heat of my own treason” (“Ceiling”) or spitting out venomous lines like “I’m not going to crack like you cracked…I don’t want to be trapped in the black of your heart” over the jittery “A Lizard State,” its clear that something which marks Marshall out is his stunning ability to turn intense emotional peaks and troughs into spectacular pieces of artful, atmospheric and anthemic balladeering.
Some of the imagery is disturbing to be sure (as on the closer “Bathed in Grey” where he offhandedly murmurs that he “there was blood…found a body in the dark”) but the songs are also imbued with genuine heart as well, as epitomised on his heart rending update of “Out Getting Ribs.”
Taken as a whole, 6 Feet Beneath the Moon is the sound of a young man growing up – not for nothing is this album being released, unconventionally enough, on a Saturday, which also marks Marshall’s 19th birthday – and attempting to grapple with the realities of the world he inhabits, an unsparing dissection of the social decay that has begun to set in around him – and a fascinating, brutal journey it is too.
Tops - (Set time: 9:00 PM)
TOPS form precious balances. They create emotionally powerful sonic experiences with a contemporary understanding of the classic song structures that have guided pop music since the beginning. A close listen will reveal their assurance as musicians, but their experience derives from playing in warehouse lofts rather than going to school. There is a place for each note in their songs. Complexity disappears behind a veil of familiarity.
The four members of TOPS wander through pop music's capacious past and, though comparisons can be made to yesterday, no clear lineage to a single influence can be drawn. Their broad musical vocabulary places them somewhere alongside contemporary bands who, taking the best aspects of pop music and the organic approach that comes from playing together, makes something that sounds fresh; distilling influences into something that is innovative in the present moment.
Their sound is equally shaped by a deep rooted communication between each member. Jane Penny's lyrics and vocal melodies lead guitar parts, guitar parts are swept up by bass lines, and rhythmic phrases are mimicked by the drums. Because their sound comes from collaboration rather than effects or recording techniques, the production is bare and confidently minimal.
TOPS are central to the Arbutus Records community. Tender Opposites is the band's first full length release, written and recorded by the group themselves(Jane Penny, David Carriere, Riley Fleck, and Thom Gillies) at Montreal's La Brique, the loft venue that serves as the creative hub for the label, a block from where all of current Arbutus roster met.
Venue Information:
1279 Queen St. W
Toronto, ON, M6K 1L4