FLYING MICROTONAL BANANA

To celebrate King Gizzard being added to the archives, i'm going to review my favorite Gizz album. On this one, the boys experiment with micro-tonal instruments creating one of their more progressive albums that's able to keep a very uniform dark sound throughout. Much of this lies in the very tasteful production that sets this album apart notably in the drum and guitar department.

Rattlesnake starts things off with a sort of King Gizz signature with its repetitive lyrics similar to what has been used on past songs such as "Trapdoor." Lets make it clear, I don't use the word "Repetitive" with negative connotation because it works. I wasn't a huge fan initially but there's a lot of really interesting details scattered throughout that made it a grower for me. The album only picks up momentum from here and doesn't slow down. "Melting" stars to show what this album is all about showcasing the microtonal guitar sounds this album is filled with. I love how it has a gloomy mood while still having a very driving rhythm section.

"Open Water" is a contender for my favorite track on the album. It has these chugging drums throughout and a tinge of middle eastern vibes in the guitar that I always appreciate (obligatory Rajaz shoutout). Sleep Drifter continues the mood with dark whispery vocals. This song does an interesting thing towards the middle where all the instruments besides the guitar quiet down and slowly build back up for a very cool interlude. For "Billabong Valley," Ambrose (the keyboard/harmonica player) takes lead vocals. Its another very forward moving song for about the first half until it slows down to a really cool slower doomy jam section that does some really interesting effects with the Harmonica. Despite being on the shorter side of songs, "Anoxia" is another highlight for me. Right out the gates it comes out with a badass guitar-led intro that comes back in even heavier for the chorus.

Continuing the Doomy vibes is "Doom City" which switches between a somewhat less sludgy stoner metal style riff, and the driving rhythms seen throughout the album. They have a big playout near the end with the main riff. Within this, there's a nasty distorted harmonica solo that I cant help but love for its unconventional use of the instrument. Nuclear Fusion is arguably the most progressive track and it boasts a real hang banging groove during the verse. Closing the album is the short title track with its very tribal sound that is hinted at throughout the album.

5 Stars without a shadow of a doubt. There's so many memorable melodies in every song that this has just become a go-to album for me. This is unique, accessible modern prog at its finest. And believe me, it doesn't forget to rock.

1. Rattlesnake - Psychedelic garage rock with a classic Krautrock drum beat. Sets a strong pace for a really good album. Could be seen as a bit repetitive but lots of subtle changes to keep you interested

2. Melting - almost a sort of Bossa Nova style, and the microtonal elements really come to the fore. Somehow it manages to be both fast paced and flat and still sound good.

3. Open Water - really showcasing the drums which keep up the fast pace set by the last two tracks, this time with guitar evoking images of a snake charmer in a bazaar... really ominous mood to this track despite the pace, I really like it!

4. Sleep Drifter - returns to the Krautrock beat and garage style, and another interesting track for the microtonal elements. Vocal style in this track is a little different and the closest thing I can compare it to (brace yourselves prog fans) is Fools Gold by The Stone Roses, in its slightly whispery dis-interested melancholy sound.

5. Billabong Valley - Ambrose Kenny-Smith takes over on vocals for this track, and his style makes this probably the most psychedelic sounding track on the album. This is so Stu can make use of the Zurna, a piercing oboe-like instrument used a lot in central Asia and southeast Europe, and you find yourself transported back to the bazaar as the album slows down a bit

6. Anoxia - Heavy guitar riffs from the start which never let up as the slower section of the album continues.

7. Doom City - Krautrock beat is back but broken up by a far more melancholy sludgy section (hence the track title) and some cleverly distorted harmonica

8. Nuclear Fusion - Starts of with a very catchy bass line. Quite reminiscent of very early Porcupine Tree I think, but with a Zurna.

9. Flying Microtonal Banana - closes with a further showcase of the Zurna which wouldn't be out of place with a troop of belly dancers.

On the whole a very interesting album, and proves that new things can still be done in the wide world of prog and psychedelic. 5 stars from me

The prolific Aussie jam band is experimenting with Middle Eastern microtonalism.

1. "Rattlesnake" (7:48) run-of-the-mill, straightforward lyrics-driven rock. (12/15)

2. "Melting" (5:27) hypnotic SANTANA-like music. A top three song. (8.75/10)

3. "Open Water" (7:13) interesting and engaging in a MOTORPSYCHO-kind of way. The insidious repetition runs the chance of boring me musically until the guitars cut out at the 4:15 mark and then a very interesting ADRIAN BELEW/TALKING HEADS section begins. Cool! My second top three song. (13.25/15)

4. "Sleep Drifter" (4:44) good modern psychedelic rock with some classic "Southern" rock chord structures and soundscapes. I like the pause and slow restart at 2:40?it really sets apart the microtonal inputs that everyone talks about. There's a little CAN-like Krautrock feel to this, as well. (8.5/10)

5. "Billabong Valley" (3:34) same CAN-like beat and pace from the previous song with the unusual singing voice of a female(?) The song slows down in the second half and then the presence of the zurna makes it interesting. (8.5/10)

6. "Anoxia" (3:04) Here the zurna feels like it's coming from its own separate universe while the pretty standard rock music supports the guitar-and-choral vocal approach the band used to use a lot back in 2014. (8.5/10)

7. "Doom City" (3:14) odd slow blues riff opens before it switches to New Wave-like rhythmic styling. Zurna and choir take the band down the slow blues riff for the choruses. Very strange! Stu's untreated voice, sung in the mid-range, sounds so unusual. (8.25/10)

8. "Nuclear Fusion" (4:15) Very interesting, curious, yet catchy soundscape and weave. A top three song for me. (8.75/10)

9. "Flying Microtonal Banana" (2:34) an instrumental with congos, djembe, and marimba with guitars and multiple tracks of zurna. Eventually they create a kind of chorus out of the chorus riff from Jesus Christ Superstar song "The Temple." Whereas the rest could come from PETER GABRIEL's Passion Sources. I have to say, when these guys choose to do instrumentals, they do them well. My favorite song on the album. (4.75/5)

Total Time 41:53

B/four stars; a nice excursion into KG&TLW's excursion into Middle Eastern-influenced psychedelia. Recommended for your own exploration--especially if you're into following this band's evolution.

If, like me, the concept of this album makes you curious about how microtonality would work in a rock context - especially if you've heard, for example, the work of Alois Haba, whose piano sonata explores microtonality so thoroughly as to be utterly disorienting - well, these guys don't go anywhere near as far out as Alois Haba.

The music is mostly harmonically static - often sitting on the same pedal note for lengthy periods, particularly in "Rattlesnake" - over which they explore what mostly sound like fairly standard modal scales with the occasional microtonal inflection - enough microtonality to sound 'out of tune' to ears used to equal temperament, but not enough for you to forget what key they're in.

From other reviewers I learn that they were particularly influenced by Middle Eastern music. That explains the lesser importance given to harmony and harmonic motion in this music, although to my ears it lacks the elaborate melodicism that such music usually has when liberated from harmonic constraints - perhaps partly because it's not similarly liberated rhythmically, with an insistent Krautrock-style rhythm anchoring most of the music. The Middle Eastern Influence is most noticeable in the instrumental title track, and in those tracks that use the zurna. Most of the time the vibe I get is somewhere between Can and Hawkwind.

An interesting album. 3.5 stars if I could give half stars here.

King Gizzard's first of five records in 2017 was an experiment in microtonality. They pulled it off and created something great. You have to admire their experimentation, expanding their style with eastern influences. They are not only prolific but also very eclectic and inspiring. Flying Microtonal Banana is an adventure.

Rattlesnake - The album starts off with a type of song we recognize from KG&tWL. The main differentiator is the microtonal playing on the guitar and supporting instruments. It's not my favourite of the album though. 7.5/10

Melting - A nice gentle track that takes a deep dive into eastern microtonality with a key role for the synth and a nice bass solo. 8.5/10

Open Water - This track has a great drive. The drums and the guitar take centre stage. Great eastern feel to this one. I love how they make the best use of the length of the song with some microtonal jamming. 9/10

Sleep Drifter - Very melodic and dreamy. Some great guitar playing and a nice contribution of the microtonal harmonica. I especially adore the bridge and the race to the finish line. 9/10

Billabong Valley - Ambrose Kenny-Smith sings this little creepy gem. I love the way he adapts his singing to the microtonal style of the album. 8/10

Anoxia - This one is sung by Joe Walker who manages to harmony very well with the guitar. The drums are amazing too. 8.5/10

Doom City - Large parts of this track are very bluesy. Including a ripping harmonica. It's ok. 7/10

Nuclear Fusion ? A nice track that doesn't really stand out for me. A great addition to this album. 7.5/10

Flying Microtonal Banana ? Absolutely lovely closer to the album. Synths give a special eastern feel to this instrumental. 8.5/10

I rate this one 4 stars. Another excellent addition to any prog catalogue.

This has been called their Krautrock album and it smokes! I just can't get over how consistently great this album is with no weak tracks or even moments for me unless you consider hearing "rattlesnake" a hundred times on the opener. This album is a mood changer as is "I'm In Your Mind Fuzz" and "Nonagon Infinity" the two GIZZARD albums I've reviewed before this one. There's a ton of energy here that makes it difficult to keep still and I'm okay with that. They use an instrument called a zurna that brings the Middle east to mind with it's shrill sound and it adds a lot to the mood here.

"Rattlesnake" opens with the wind blowing fairly hard before it kicks into this energetic assault to the senses. This is an 8 minute blast! The zurna comes in taking no prisoners before 5 minutes then more wind gusts. "Melting" is such an awesome track. Kind of jazzy with those softer but urgent vocals but check out the opening drums. And how about those distorted keyboards, so good! Great track! "Open Water" is a top three with those ethnic sounds but man such a groove with beats and bass all over it. The zurna rips in before 3 minutes then back to vocals. The fast paced vocals before 4 1/2 minutes are cool. This might be my number one or at least tied with the next track "Sleep Drifter" a track I felt stood out above the rest from the first spin but "Open Water" has since come close at least.

"Sleep Drifter" just sounds amazing with the picked guitar, beats and high pitched vocals to start out. But come on this just blows me away. A high energy top tapper. It's pretty cool when we get a calm and your thinking it's over but it slowly builds to an even groovier piece of music and I'm just bobbing to this like nobody's business. Check it out 4 minutes in. Love that guitar. "Billabong Valley" has these high pitched distorted vocals with piano and beats. The zurna replaces the vocals. So good! Back to the vocals as the piano rips it up. Love that bass giving us some depth and how about the drumming. I'm laughing here then a calm with picked guitar that builds with all but the vocals returning including the zurna. Vocals replace the zurna but they trade up some more.

"Anoxia" is a heavier sounding piece with some cool sounding guitar melodies that are replaced by the vocals. Nice bass and beats as usual. Lots of intricate microtonal sounds. "Doom City" opens with distortion and echoes before this motorik groove takes over. Krautrock 101 then the vocals come in fast paced. Sounds like a deranged harmonica after 2 minutes. "Nuclear Fusion" is my final top three but man every track is great. Deep processed vocals replace the drums then bass before we get that awesome sounding groove with vocals. Too catchy man. Swaying and swaying. Love the keys before 1 1/2 minutes and later before 2 minutes as it comes and goes. Again not fair how melodic this band is within high end compositions and sounds. This is my music. "Flying Microtonal Banana" ends it in a very exotic way with the zurna all over it but also ethnic strings and sounds. An instrumental to end it all.

My first 5 star GIZZARD album and so it's no surprise that it's their Krautrock record that hit that level first. The fireworks have been relentless here tonight on Canada Day I must say. Music is blasting outside but not over mine(haha).

Another one of my all time favourite albums! This album was what they deemed the beginning of their deep dive into microtonal music, going so far as to have "volume 1" in the top left hand corner of the vinyl. Fun Fact: the name of the album came from the guitar that was custom built for King Gizz of the same name, and is featured on the front and back of the album. To me, this one one of their more daring exploits, and certainly not an easy one to pull off. I think that this album is another near masterpiece from them, continuing the progressive elements from the previous album Nonagon Infinity and bringing influences from various European cultures with a more driving rock aspect to it. This album is one of the pinnacles of more accessible experimental rock. I'm going to preface that some hardcore fans seem to understand the underlying story far better than I do, so that certainly won't be the main focus in this review.

Rattlesnake This album really starts off with the weakest song for me. It's not necessarily a bad song, I've grown to be okay with it, and could even say some parts are good. I like the vocals that have layers during the chorus. It kind of takes the one note jam a little bit too far, mainly because the parts going on around the very stagnant rhythm aren't as interesting as other songs. It's very tedious, and I like me a good jamming song, but this one is just a bit much for me to casually listen to. The zurna is really great however, and that plus the vocals are my favourite parts of this song. The microtones aren't used very much as this song, maybe because it's more of an intro to the album. The transitions between the beginning and ends of each song on the album are pretty great, especially the wind one here.

Melting Definitely one of my top songs I've ever listened to. I feel like this one would've been a better introduction song, seeing as it makes the microtones more and more prevalent. It has one of my favourite melodies, using B phrygian and adding extra microtones in the scale like C half-sharp, and G half-sharp. The interplay between the bass and the vocals is really notable to me, along with the very Latin feeling groove makes this one such a head-bopper to listen to. The really delicate synth adding the more Latin rhythms as well really adds to the texture. The effects that they put on the vocals (a kind of groan tube style filter) really pushes the 'melting' feeling of the song. The guitar solo, bass solo, as well as when the synth has its highlights are really fantastic. The drums (being panned in both ears and doubled!! Thank you Eric and Cavs!!) have really bright cymbals while having a really dark snare, creating a really cool contrast in the amount of sound that's happening. The haunting and foreboding lyrics with Stu doing very intentionally soft vocals works incredibly well on this track. The low pass filter leading into Open Water making it sound like we're underwater is very very nice.

Open Water I think this one does the one note jam a lot better than Rattlesnake, it has more fun variation in rhythms, and more of a power and drive to the drums. The groove on this track is iconic with the repeating snare pattern that really adds a punch to the sound unlike most songs on this album. The section where the guitar is just doing its thing at 1:12 is so good. The song uses microtones to emphasize a lot of the transitions and the melody, and it works really well to add some unease into the sound. Another emphasis is the layering of the natural sounds on top of the music, like the waves that occur in the middle of this song. The zurna is once again really great on this one. The shredding guitar along with the vocals at 4:40 is a really interesting choice that I love, it's not too powerful, it's very perfect for the scene they create. Everything in this song is incredibly well balanced in general, considering there's multiple guitars, multiple synth tracks, 2 drum tracks, vocals, etc., but it's not mixed in a very invasive way.

Sleep Drifter Probably my favourite of the chill songs on this album. It's still got a very rigid groove and is another one note jam song, but it's a lot softer than other songs. The lyrics that suggest lucid dreaming and the feeling of them, I think they set the stage really well for the song, and the really sweet melody accompanies this well. The breakdown/buildup in the middle of this song is a highlight for me, it's such a well done fake-out ending. The microtonal flourishes and trills in this one are really cool sounding, another strong contender for differentiating the songs. It is another one note jam, however it's a little slower, and gives a little more room to breathe in different sections. I enjoy how Billabong Valley sweeps through the mix in the end, feeling like a drifting tumbleweed.

Billabong Valley I'm still kind of 50/50 on the pitched up vocals in this song. I'm inclined to like them more because of the experimental nature, but they don't sound super great to me. The melody's not the strongest, but still good, and that kind of sums up this song. It definitely for me gets overshadowed by the other much stronger songs on this album. I do really enjoy the slowed down portion however, added with the zurna that adds some extra colour to the song. Strong progression in the song, but doesn't do anything wildly outstanding like a lot of the other songs.

Anoxia I feel like this is easily the most overlooked one in the album. It has such a good riff to go along with the really great melody. The switch up in moods going back and forth between double time and not are really well done, not a super aggressive switch and just really well done. Joey's vocals on this one are just a really nice switch up to the rest of the album which is just Stu. This song for me uses microtones the strongest, adding to the melody through the use of ornamentation, and also in the riffs during trills in the guitar. The lyrics on this one are really strong, keeping up the very mystical and foreshadowing nature of other songs. The transition to Doom City as well is a lot of fun.

Doom City Another overlooked one, but for a good reason. Another weaker song on this album, but not entirely bad or anything, still a good song. I like how this is the heaviest on the album with the use of the distortion guitars. The guitars also using wah pedals are really fun. The tempo switches on this song aren't nearly as strong as Anoxia. The continuous 'doom doom doom city, doom doom' in the background is really cool, adding another non-invasive layer to the song. They definitely had fun recording the zurna on this one with how aggressive and improvisatory it feels, sounds like fun.

Nuclear Fusion My favourite song on this album. Best riff and melody even though there are some strong contenders, and easily the best one note jam song (there's a lot of those on this album). The pitched down voices on this one, compared to Billabong Valley, work really well at the bookends of the song. The varied bass line makes the one note jam a lot more listenable and doesn't feel like we're listening to the same song over and over again on this album. I've always liked the little 'dum dum dum' that Stu hums in the beginning, his vocals are really great with the shaky parts he adds, as well as the almost muffled mic that's used. The vocals are really great, doing a similar thing to Rattlesnake, but to better effect with the melody happening and below it has Stu(?) singing the same rhythm but on the low F#. The lyrics are really strong off this one, with a really fun twist of demented science and about fusion of humans supposedly and of the actual nuclear fusion. It has such a good drum beat as well, simple but effective generally, shifting focus between ears at times. The bass in the high registers at 2:25 is such a fun texture switch up, adding more reinforcement to the top end of the piece. The tiny synth solo at 2:58 I also very much love <3.

Flying Microtonal Banana Just a great jammy song in 7/8 to end off the album. The layered zurnas on this one really sounds like an army approaching and I love that ominous sound. I enjoy how the instruments like the zurnas and harmonica blend and move in and out with one another. Dynamically the instruments really fade in and out with each other as well. It's a really solid outro to the entire album, and forms a loop back to the beginning in a similar style to Nonagon Infinity.

Issues: I think the songs get a little too tedious at times, and there's a lot of one note jamming that happens in this one. They definitely break this trend in the future microtonal albums KG and LW, getting a little more melodious with the riffs.

Strengths: This album has such good riff and melody writing, nearly every song having a very strong selection of ideas and phrases in them. I enjoyed the experimentation they had with this album, blending a lot of different colours and vibes to match with the microtonal aesthetic.

Generally this album is insanely close to perfect for me. The only things I would change are Rattlesnake and some smaller portions of songs. I'm giving this one 5 stars, because I feel like I could nerd out and rant about these songs for hours, even the weaker ones. And for the same reason as Paper Mâché Dream Balloon and Nonagon Infinity, this album is just much closer to 5 stars than 4 for me.