![]() Great blog mostly focused on old-school D&D. The band’s Anatolian exploits strangely harmonise with twisted, swamp water outbursts of neo-psych, creating a joyous darkness.īest tracks – ‘Straws in the Wind – ‘Some Of Us’ – ‘Ontology’ – ‘Intrasport’.4e 5e AD&D All The World's Monsters Arduin Booty And The Beasts Character A Day classic D&D Dave Hargrave Dragon Tree Dungeons & Dragons dungeons and dragons Earth Delta Erol Otus fiction gaming Gamma World humor magic magic items MMORPG monster Mutant Necromican old school Pathfinder Pathfinder 2 Personal Post Apocalypse Rant review roleplaying RPG RPGADay RPG Bloggers rules science fiction Space Opera Star Rovers Star Wars walkthrough weird WOTC writing Gaming Links Your mind is sure to be grabbed by something on ‘K.G.’ a stark-raving psychedelic madness that will gladly square up to King Gizzard’s most acclaimed efforts. Your mind may be elsewhere perhaps on the mesmerising sitars or constant, rarely-altering bassline. ![]() It’s an album of booming movements that reaches a mid-album breaking point with ‘Some Of Us’, through an extension of freak-out metaphor and vocal ascension that suddenly drops from the tallest skyscraper in the chorus fitting as Mackenzie sings “everything turns into dust”.Īnd ‘Straws in the Wind’ sees a change in lead vocal duties, swapping Stu Mackenzie’s breathlessness for the downtrodden, yet ripely ‘cannot-be-contained’ Ambrose Kenny-Smith. Even introductory procession ‘K.G.L.W.’ boasts a unique melody, when most perhaps would’ve accepted drones – and the hefty guitar crunch of ‘The Hungry Wolf of Fate’ overcomes any potential songwriting snags. No moment is wasted on ‘K.G.’, and every musical idea incorporated amounts to an artistic spectacle seldom grappled by King Gizzard since 2017, despite the sharpness of their subsequent endeavours. ![]() ‘Minimum Brain Size’ is comprised of snake-charming guitar riffs that tussle and shapeshift, amidst tomes that confront the members of humanity who wish to alienate appropriate within an album that unites multiple styles and allows each to rock out – hell, even the folky detour of ‘Honey’ does so. It makes way for the hallucinatory Turkish disco that is ‘Intrasport’, which features synth pad stabs that operate like blinking lights, and in turn makes way for the frantic syncopations of ‘Oddlife’ tom toms being worked to death like the suckers they are.Įven ‘Automation’ boogies accordingly an evil, yet joyous, tribalist dance that both juxtaposes and accepts the gloom of its lyric sheet, which utilises crazed imagery of technological disconnect, such as “cyber surgeon, JavaScript person, digital cleanse, tell all your friends the neutral network’s at work”. The approach comes to a frothy head on ‘Ontology’, featuring the record’s most noteworthy melody – “now there is something that’s on my mind / now there is something I cannot hide” – a guitar riff echoed by a replicatory vocal line, interlaced and sandwiched by Turkish dance grooves, including a jam finale – even if the payoff hadn’t been there throughout the album, ‘Ontology’ would’ve made it worth it. In fact, the latter introduced King Gizzard’s fondness for Anatolian music, but ‘K.G.’ superimposes such activity – it becomes megaphonic, a full embrace. The surface level content of ‘K.G.’ isn’t too unlike the days of ‘Nonagon Infinity’ and ‘Flying Microtonal Banana’. Following hypnagogic pop and heavy psych, the band’s 2019 output crafted ventures upon ventures, weird and wonderful navigations into territories too oddball for most – so hey, what harm could an Anatolian album do? Last year, it was thrash metal and jam band campfire rock, producing eclectic digressions for a band whose entire existence has been an eclectic digression. The album is another concept-ish outing in which songs segue into one another, but more importantly, there is a certain stylistic overtone that shoots through the record’s veins, that being the Anatolian rock caught in glimpses prior. Microtonal tuning isn’t the only similarity ‘K.G.’ shares with King Gizzard’s previous work. The album was subtitled ‘Explorations into Microtonal Tuning, Volume 1’, and a ‘volume 2’ has finally been issued in the form of ‘K.G.’ a meta title for a catalogue-relating experiment. King Gizzard & The Lizard Wizard’s 2017 five-album bonanza began with ‘Flying Microtonal Banana’ a hard psych conquest that saw the Australian band dip their collective toe in the spiked water of microtonal tuning – hence the title. Album by King Gizzard & The Lizard Wizardįorget microtonal tunings, King Gizzard’s Anatolian rock is really where it’s at!
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