Whilst remaining true to the Turkish sound, the band have seemingly created a Turkish disco sound, with drum machines and several musical breakdowns. Before crossing perfectly back to one of the overall themes as Ontology grabs the Middle Eastern influence, Arabian-esque melodies flourish into a torrent of an unmistakable King Gizzard instrumental piece.įrom here, the album arguably reaches its highlight with Intrasport being a tremendous eye-opener. Whilst the track Some of Us could not really be placed when it was released earlier in the year, it slots perfectly into midpoint of the album and continues to add colour and vibrancy to the microtonal picture. An absentee from the first edition but ubiquitous in Straws in the Wind and Honey, bringing a more stripped-down feeling to these tracks allowing a breather from the franticness of the rest of the album. Minimum Brain Size utilises a baglama-esque layer blended with Michael Cavanagh’s, now solo, unusually-timed drum patterns along with familiar guitar effects and seamless transitioning between songs to tie the album together, another common Gizzard feature resulting in a sinuous flow throughout its 41-minute voyage.Īnother welcome addition is a microtonal acoustic guitar. Now studio album number sixteen KG, finally delivers with an amalgamation of microtones and essences of previous albums adding to their ever-present and diverse musical odysseys.īeginning with an eerie wind sound similar to Rattlesnake, K.G.L.W feels as though it could also be a medieval introduction to Crumbling Castle, further implementing the band’s frequent call-backs to previous work, subsequently diving into Automation and thrusting the listener back into the world of microtones.Īs with the first edition, the influence of Turkish and Middle Eastern sound is prevalent. Since the release of 2017’s Flying Microtonal Banana, Australian psych-rockers King Gizzard and the Lizard Wizard have always hinted at further exploration into the world of microtonal tuning.
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