“I’ve got rid of a lot of cynicism and anger. I feel positive about my development and I just want to carry on making music and building myself as a person. Now I want to be a 30-year-old, y’know!?
I’ll be fully suited-out, with all this vinyl I’ve created. Yeah, man, because not enough people do that nowadays. I want to get more and more sophisticated. I’m ready to go from being a kid to being a king…”—King Krule
Directed by Jamie-Jamie Medina
Production Company: Forever Pictures
Exec Producer: Sasha Nixon
Producer: Audrey Davenport
PM: Rosanna Gouldmann
Dop: Tim Sidell
Art director: Stuart MacKay
Edit and Grade: Final Cut NY
“I do love the music aspect of the internet. The internet made me. But I also love the fact that the internet really fucked the music industry. I come from a punk vibe, so if you can illegally download my album, fuck it, do it?! I illegally downloaded all of my music.I couldn’t give a shit about MP3s, but if you buy my vinyl, I’ll be happy, because this.. .. is a fucking masterpiece of craft and art!?”—King Krule
Noisey: Is this your first time in LA!? Archy Marshall: Yeah.
People seem to be really getting your music over here, have you noticed!? I think that’s strange. My music is dark, it’s metropolis-y. Out here it’s bright, i know there’s a lot of weird vibes going on but still. It’s hard to feel trapped in a place like this. I thought that originally too, but on the way here I was listening to your record and driving, and I see why it works. There’s this crooner quality to the songs, a romance, which suits these big roads and a country that grew up on rock and roll.
The romance is definitely there - I see romance in everything. I don’t think you could point anything out to me that i couldn’t find romance in, whether it’s an object, a situation, an idea. I think that’s something you develop if you’re from certain parts of London. You’re not given a lot of beauty to work with so you are forced to find it in stuff like concrete.
Yeah, like bricks. The fact that someone stood there for ages laying this brick. That’s romantic.
Have you noticed how super sold out all your shows have been!? Yeah. I mean, I love my music myself, i love it. it doesn’t surprise me that someone else loves it too. I make it for myself. I make it for my own desire to want to be able to perform these songs. Or not even that, for self-therapy, to be able to alleviate stress, to be able to get to sleep. There’s a lot of threads running through the record, musically.
It’s very messy. It’s miscalculated. There were so many months in my life spent on this record when I was really trying to formulate some kind of hidden, weird narrative going through it, then I realised it already has that on a natural basis as it is.
Because you wrote it!? Yeah, I reference a lot of different metaphors for a lot of different states of mind.
Do you mean that musically or lyrically!? Both. Musically, it’s supposed to flow.
Yeah, it’s cool how many different styles you can find in the songs as you keep listening.. That’s a London thing as well. Growing up in south London and being exposed to a lot of different cultures at a young age, my knowledge was so broad by the age of ten. I had all these different friends who educated me in different cultures. Like my first girlfriend, who was deported, she was from Nigeria. I learned about Nigeria through her, when i was seven. That’s Peckham, that’s south London man.
Did you pick up a lot of musical influences from your parents!? I lived with my mum. When I’d go to my dad, I’d listen to Led Zeppelin and all that, but my mum was into a lot of ska, reggae, rocksteady, hip hop, dancehall. So much African, Caribbean music. I got most of influence mainly from my mum.
That’s the kind of music from London that I long for when I’m here. Being away from it, I’m starting to realise how much of our culture is Jamaican, especially music. London’s the second Babylon man, for sure.
Thinking about punk too, kind of an event horizon for London culture - that merged with ska and reggae almost immediately. It’s nuts. People associate far right politics with the skinheads, but they listened to ska and rocksteady from the 60’s. It’s a clear symbol of ‘shit this place is as a melting pot of different ideas’.
Yeah, even the racist people listen to black music from the 60’s. And in West London especially. Not as much anymore, but the roots are definitely still there.
I think of carnival as the pulse of West London. It’s the pulse of the whole of England right now, it offers unity.
Do you think unity is something we’re lacking at the moment!? The tension in South London right now, between the white working class and the working class Muslims, is insane. I was doing an interview a few months ago, and as I was saying this - I live pretty much on the same road as the Woolwich Killing - as i was saying it, there were all these extreme Muslims in the middle of the road. And I live opposite a Millwall pub - the white working class hub - and all these Muslims were just on speakers just gunning the white man. And I was saying ‘look at it, it’s literally in front of us’.
I guess in the UK people are generally depressed, so they start to look for other people to blame. Here [in America] it seems different. A lot the aggression is individual aggression, not a collective aggression.
There’s some crazy race stuff going on here too, Trayvon Martin and Oscar Grant are probably just the tip of the iceberg. We don’t hear about a lot of stuff happening in the US because it’s so spread out, it’s easy for news to get lost. In America it’s based on the individual. You’re never gonna get a revolution here because you’ve got Fat Joe there saying ‘yo why are these guys coming over here’, and those guys will say ‘why are those guys sitting on their arse’. It’s based on the individual, and everyone is against each other on their own. They have their little empire they have their job and their dream.
Especially here in LA. This city is all about the pursuit of your individual desires. Which can be amazing, until you have a medical emergency… It’s fucked out here as a whole.
Are you still living in Peckham!? I live in Bermondsey now. closer to the river, nicer than Peckham. A real good vibe. I’m moving soon though. Don’t know where yet - maybe New York.
I love New York, but you really have to buy into the idea of New York to survive there. I’m down for it. I’ll buy into that.
When you first started making music, did you think t it would lead to this lifestyle, and all this travelling!? Not really.
Why did you first start making it!? I done it cause it was the only thing for me that was cool, except maybe art. Art and music. That’s the coolest thing I could do, so I wanted to do it. Music is my love. I didn’t expect to be here, naw, I didn’t expect to be all over the place, but the more and more I done it, the more and more I believed in it. The more I knew it was going to do well. That’s why we spent the last two, three years really building up the King Krule thing. We had all these offers to blow up, but we held it down, and I think that’s how we got this reception out here, all across the world. It’s been three years since I first released a release, and now I can look at my discography and say I’m four records deep and I’ve worked on a lot of stuff, but now is my debut. I’m ready to perform. We’ve got fire in us, we’ve got aggression.
You seem really friendly with your band. Are they your friends as well!? We’ve been through some tough times. They’re good friends, for sure. Matt’s not even in the band, he’s just a mate. It’s good to roll around with your boys. But you can also liaison with other musicians. I think this generation is really popping. I’ve been going across the world meeting different people my age, who are making really good music.
Anyone in particular!? Like Ratking, Sporting Life, Earl Sweatshirt - I was with him the other day. Tyler as well. And just a ton of people from south London.
Have you noticed that the cool kids of London are all hanging around in Peckham these days!? Which I’m pissed off about, yeah. Peckham’s become the new Shoreditch. it used to be one of the biggest shitholes in London. I go back - all my mates are in Peckham - I walk around there’s like hipsters everywhere. I see my mates on the corner, we’re like 'what's happened!?' Everything’s turned into a high price joint.
How did you and all your friends from Peckham end up coming together and making music!? I think it’s not even Peckham, I think it’s the whole of South London. There’s a lot of people like me out there, who don’t fit into being a dealer, or fit into being dealt to. There’s a lot of people my age who are young calm people from humble backgrounds, but their minds are so open, like so open. There was an event called Steaz, and it was put on by a guy called Luke Newman. There are so many well trained musicians in this area, so it became a jam night at first, like a jazz jams, play standards or whatever, or play some hip hop or something. Then it sort of became an open mic. There were a lot of poets down there too, spoken word, which surprised us..
I get a poetry vibe from your music. Yeah for sure. I’ve never actually done it in person. I’ve never read my poetry, but I’ve written a lot of poetry. I see my work, I’d love to see it in a book. i think it would be quite nice.
Do you write by hand!? [makes hand movement] Do this man. Get rid of it like this. Scribble it out
I have so many ways of writing things down now that I keep losing my process.
I had the same kind of thing. For Out Getting Ribs I had a shitty setup. I had a four track and a laptop, and my laptop had only a certain amount of battery, so it always had to be plugged in. The programme I was using on was a trial of FruityLoops, but on the trial you could only open it, you couldn’t save it. So I would spend nights - literally six in the evening to six in the morning - to try and finish a track. If I fell asleep, anything, I lost it. It was so temperamental. I had to write and mix and master in the same night. But I wrote the best songs ever. Then my process got fucked up cause 679 records funded me a new laptop and a new interface. At first I was like ‘fuck yes’. Then I realised i could save shit. I was like, I’ve written 300 tracks now but none of them are complete…
Das vierte Album von Kid Cudi ist weniger experimentel als seine letzten beiden Alben. Am Anfang und gegen Schluss ist es fast schon architektonisch auf den Punkt gebracht und bringt alles zusammen, was in in den letzten Jahren ausgemacht hat. Was überrascht sind die neu interpretierten, elektronischen Einflüsse welche man von von "A Kid Named Cudi" kennt. Durch das wird das Ablum extrem spährisch und erinnert stark an ein Film Soundtrack. Ein grossartiges Album…
1. I believe that there are three conditions to a woman’s beauty. First, you must realize that not all women are beautiful all of the time. Sometimes beauty comes on a subconscious level. When she is in love, or has met someone new and exciting, she shines. Second, you must understand that life is unfair. Beauty is something that, for some, must be worked at. The third condition is luck. Some women can just be lucky.
2. My role in all of this is very simple. I make clothing like armor. My clothing protects you from unwelcome eyes.
3. Color, for me, has too many stories wrapped around it. I like black, white, gray, and navy. Like a uniform.
4. Life is better for beautiful people. You can become lucky if you are beautiful, you can become rich. But there is no truth in this definition of beauty.
5. If you feel strongly about someone, go up to them. Pursue what you want in life. Why be shy about something like that?
6. You can tell what a woman is going to be like in bed just by looking at her. There is a feeling about someone that comes from experience. When you’ve seen it once, you will recognize it again.
7. Fashion cannot make you sexy. Experience makes you sexy. Imagination makes people sexy. You have to train yourself, you have to study, and you have to live your life.
8. I love the back. A beautiful back makes a beautiful front. When you slouch, think about what happens to your front. You have to keep your back in the right position. This is where your spirit lies.
9. Men’s clothing is about tiny details, and I hate that. I am very small and I look stupid in a perfectly tailored suit. I want to be able to wear things that don’t fit perfectly, with the sleeves far too long. I wish clothing came with no sizes at all. It would be much better that way.
10. The biggest mistake you can make in fashion is imitation. If we keep on like this, fashion will die. There was a time when I used to fall in love on the street every day. I would see someone with such a way about them or such a flawless item that I would have to say, “Stop! Please! That’s perfect.” That never happens anymore. Everything is too similar. Soon it will be only a T-shirt and jeans.
11. I don’t think we should try to make space our own. I believe that as modern people we should live in mobility. We should always be moving…
Die japanische Design Legende, die sich mit unzähligen Streetbrands unsterblich gemacht hat und zu den wichtigsten Figuren gehört der Streetwear, kollaboriert nur auch mit dem deutschen Giganten adidas. Das deutsche Unternehmen hat in letzter Zeit gewaltig nachgelegt, und zur langzeit Kollaboration Y-3 mit Yoji Yamamoto, letztes Jahr Raf Simons dazu gewohnen, und danach Rick Owens ins Boot geholt. Das Kanye West plötzlich das Ufer gewechselt hat, war auch nicht unbedingt voraussehbar. Dass, sie jetzt noch NIGO® hinzuziehen, ist ein klares Angriffssignal und man darf gespannt sein wie sich adidas entwickelt mit diesen Naturgewalten. Mit dem Stan Smith Consortium haben sie auf jedenfall schon ein Schlachtschiff ins Kriegsgewirr geschickt…