Written by Tom Bedding
The Aussie band that are incredibly called, King Gizzard and The Lizard Wizard, are on their millionth album in just over a decade!!!! The constant outpour by these guys is commendable and weirdly impressive, mainly as their style changes and concepts are both utterly bizarre and outstanding. One of the many concepts King Gizzard has tackled over the years, is the microtone tuning and this new album, is the third instalment of their microtone albums.
We were given the second album from this series just last year (called K.G.) and despite its best efforts, it felt a tad underwhelming at times. So now we have that records ‘sister album’ and I was a tad worried going into this album, ‘L.G’, if Im going to be honest.... but thankfully, my doubts were blown away by this incredible institution of a music band.
The bands 17th studio album begins with ‘If Not Now, Then Why’ and boy…oh…boy, what a way to start the whole project off. It really felt like a mix of the ‘Eyes Like The Sky’ and ‘Im In Your Mind Fuzz’ albums but with an amazing funk dynamic to it, which is mostly coming from the great sounding keyboard on the song. It is a playful way to start ‘L.W.’, with it feeling like we are a little baby being gently dropped into a hot bath.
We are then taken through a journey on ‘O.N.E', beginning with a gentle harmonica, acting as such a bluff as the single takes a big shift after its opening moments. The microtonal style of the record truly begin here, yet the guitars here and across the LP, have more grit and angst to it this time around. Naturally the bass playing is solid and the production tricks of the band work well, ye this song is a big standout single that shows off how catchy and mighty the songwriting can be by King Gizzard.
‘Pleura’ follows next so gracefully, with a blend of acoustic guitars and a jamming electric guitar sound. The vocals are more heavy in its weight, sounding clearer, which goes over some very staccato induced instrumentation. The verses later in the song sound exotic and dessert like too, with the microtone tuning really grabbing the attentions of the listener. Oh and the ‘wooos’ are delightful!
The beautiful harp starting ‘Supreme Ascendency’ is truly lovely, allowing this magical microtone sound to feel so desirable and majestic. The chorus has some heavy tones to it though, with the guitars and unorthodox organ playing really doing wonders to this cut. Next is the mystique and acoustic sounding ’Static Electricity’, which really creates a vast desert image in your head with its impressive acoustic playing and production work.
King Gizzard give us a moody and Gizzardy rhythm in ‘East West Link, which features some whispery vocals that really enriches the first quarter of the track. The guitars then sweep in beautifully, sending us away to a jive filled with acid and the twilight sun of the desert. At this midway point, you can tell the band are offering a better microtone record this time around, there seems to be more grit and flavour on this effort when comparing it to its sister record.
Another standout track is ‘Ataraxia’, which contains some brilliant drumming and guitar tones that sound wicked from the word go. The slight American sounding song includes some cool bongos too and really feels like a great road trip song, with its pulse beating in such an assured fashion. King Gizzard throw in some some laser like synth sounds into the mix later on in the track, which somehow works and ensures that the impressive number doesn’t feel as long as it weirdly is.
King Gizzard are one of a few bands that feel like they want to challenge rock music, offering us ideas and sounds that so many in the genre are just too rigid to even think of. ‘See Me’ does this to the max…. you would think the group would offer something more ‘western’ at this point but instead, we are offered this busy and wacky song that really does push the listener in the best possible way.
To finish off the third instalment of the Aussie bands series of albums, based around the tuning of microtone, we are given an epic and possibly, ICONIC, finale. ‘K.G.L.W’ is nearly 9 minutes in length but what occurs during that substantial period shows off the bravery, talent, boldness, craziness and inspirations that define the now 7-piece outfit.
It is very Sabbath meets grunge the whole affair, stomping its way through and despite if it feeling like it is all over the place, the band truly know where this song is heading to. As we get into the later parts, the thick and rich guitars step it up with its intensity, while the groove just enters a more swaggery place. ‘K.G.L.W’ finishes with such Gizzard urgency and leaves us once again, mesmerised with the ambition and audacity of this band.
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