KING GIZZARD & THE LIZARD WIZARD

...one of King Gizzard's most popular albums to date! To me this album builds off on of their previous albums "I'm in Your Mind Fuzz" with a very similar garage rock aesthetic. To me this is what Mind Fuzz really should have been, with more progressive elements, catchier melodies, and a lot more drive to the sound. It's certainly one of their best works to date, and I'm inclined to give this one 5 stars simply because (and this is the same reasoning I had for Paper Mâché Dream Balloon) it feels a lot closer to masterpiece than just a really solid album. The overarching story, transitions between songs to feel like the album is one long song, and the psychedelic tone on top of everything makes a really amazing listening experience. This album especially is a lot more personal to me, because it was the first I had listened to, and it opened me up to a lot more modern progressive and psychedelic music. I grew to really appreciate the compositional abilities of especially Stu Mackenzie who made this entire thing basically by himself. I don't understand the lyrics or the story insanely well, but I can sort of gather what is happening in the songs from checking people properly doing an analysis.

Robot Stop Really fantastic start to the entire album, it pretty much sets the stage perfectly for what's to come, a garage rock masterpiece in my opinion. It also introduces the 'Nonagon Infinity opens the door' theme that we get to hear throughout the album, and here it change keys a bunch. I believe that it's one of the first times that the band really messed with doing odd time, and it introduces in a really natural way, using a 7/4 riff to get people listening acquainted. Super energetic and driven with the groove and the double tracked drums(!!!), also has an incredibly catchy melody and lyrics throughout. It really uses e minor, and said pentatonic scale in a really groovy way, and this is what makes it so punchy and driven. The song uses chromatic and whole tone movement to open up the song and add some diversity to the changes. The solo section is a great tradeoff between all the guitars + harmonica. It also sets up a bunch of the references to other songs like Big Fig Wasp, and Hot Water (from the album I'm in Your Mind Fuzz). NONAGON INFINITY OPENS THE DOOR!

Big Fig Wasp Essentially works as a continuation off of Robot Stop with the smooth transitions, and the same tempo + e minor key. It feels a little more sharp and direct than the more grungy Robot Stop. The lyrics are a lot of fun, as are most of them on this album. It continues a lot of the pentatonic stuff that happened in the previous song, with a little more bass action which is very appreciated. Sometimes this one feels just a little too lengthy to be justified, mainly because there's no solo section in this one. That's possibly done to differentiate this one more from Robot Stop? I like the use of the wah pedal on this song (and its continued use on other sections of the album as well). The ending is really satisfying with the loop around back to robot stop, and then the key change to move to d minor which the next song is in.

Gamma Knife Best song on the album (tied with Invisible Face) for me. It's just so consistently good and constantly 1-ups itself as it goes on. Super catchy, lyrics are great, rhythm is great. The time signatures are so much fun, with the 12/8 to 11/8 kind of feel. What's cool about that is the fact that the drums are actually playing something more like 6/4 because the snare is on every 2md eighth note, but the harmonica kind of counteracts that putting the emphasis and downbeat on every 3 eighth notes. This song also has some whole tone progression stuff on the 'gamma knife, nice' part. The drum solo is great midway point of the song, with it being in 11/8 and maintaining a fun feel to it, and also the mix has it panning across the ears which is really cool. There's some nods to People Vultures and Evil Death Roll on this song.

People Vultures The lyrics are probably the most notable thing for me on this one. There's another really great main riff on this one as well. what differentiates this one from the rest of the album is probably the more active chord progression with a lot more movement, opposed to some of the more stagnant (yet awesome) riffs. This one sort of gets overshadowed to me because of the vast amount of great songs on this album. The synth adds some more high pitches that aren't really present in any off the other songs either, as well as the fun pick scrapes at the end. I don't think there are any references in this song? At least any obvious ones.

Mr Beat This one definitely has the most tedious lyrics, however I've really grown to love this song a lot. It's the midway break from all the hyper energetic music that's on this album, with the slower tempo attached to it. The organ really stands out on this one, with sort of a more vintage prog sound to it. 'Once I'm Mr. Beat, only missed a beat' in 7/4 very cheeky King Gizz moment. Apparently (and I looked this up) the verse is the same as Big Fig Wasp, just slowed down which is kind of crazy that attention to detail is put in. The synth at 3:00 is so cool, and if anyone can tell me the name of it that would be greatly appreciated. This song has the best synth use, and the most diverse to me. The soft 'Mr. Beat' lyrics near the end are a fun little addition. The very in your face Evil Death Roll reference as well.

Evil Death Roll Easily one of the best intros on any song in this album (maybe one of their best ever). The phrygian movement on this one is great, and this really adds to the psychedelic environment. One thing I wish is that they could've expanded upon the key change at the lyrics 'Evil Death Roll... Now!'. Very soft organ synths are appreciated during that section as well, that I only noticed recently. I think the part where it delves into complete silence besides the guitar is really interesting, I'm curious what brought upon that choice musically. To me the song goes on for just a tiny bit too long, because it feels like it over explores these riffs that we've already heard a lot. There's a Robot Stop and an Invisible Face reference in this one.

Invisible Face This song has my favourite groove to it by far, the rhythm is just so fun to listen to. The melody has a sort of 7/8 feel over top of the 7/4 overarching idea which is just really cool. This one has very silly lyrics, but that ambiguity and strong melody of them makes it really fun to sing along. The transition into the Latin groove is really great solid, with the added bongo percussion, and the sort of bossa comping guitars to it. The key change leading to the end is so solid, plus the tempo slow down, on first listen I thought they actually just slowed down the whole recording. No obvious references.

Wah Wah The lyrics stand out the most on this one, probably my favourite on the album with how they tell a more direct story at hand. The zurna is a really interesting decision, and could just be the fact that they were setting up to make Flying Microtonal Banana, which sort of feels like instrument foreshadowing. I think the melodic line has a really nice feel to it, with it sort of walking up and down the b minor scale. Definitely not my favourite riff on the album, but adds a different time signature with a fun energy. The vocal harmony at 2:27 I had never noticed upon relisten, but is a really cool addition. It also just has a really strong end to it that leads to the next song. Only reference I spotted was the use of the zurna.

Road Train The weakest song on the album to me. I think it's most just the place of the song on the album, because I think it's a really not a bad song, just a questionable send off back to the beginning (though I do love the ending of this song). The melody is okay, the groove stands out to me as the best thing. It makes it sort of feel like a hillbilly train song to me, would've been fun to use some banjo. 1:57 sounds great however with the low vocals and the guitar added on after.

Issues: My biggest issues tended to just be that the songs could go on for just a bit too long, and that the ending feels a little bit disappointing.

Strengths: Some of the strongest grooves, melodies, and ideas they've ever written. It working as a concept album also really helps add some more interest to the sound. Great lyrics, and it sounds like they just had a lot of fun playing this one. The mix I didn't talk about a whole lot, but is really strong because of just how perfect it fits the style of music here.

Overall the album is really outstanding, it definitely feels worthy of 5 stars to me with just how insanely well this album is crafted, also adding to the fact that these guys made 5 more albums the next year (2017). With how well received this album was, one could only say this was...

This is a near perfect album in my opinion, so very close. Continuing from the chill vibes from last album, Paper Mâché Dream Balloon is a very much indie/rock very slightly progressive feeling and contains, in my opinion, some of the strongest melodies that the band has ever produced. It takes on an entirely acoustic route that hasn't been seen before in their music, and is definitely heavily inspired by the Beatles melodically and harmonically. The mix is great, the songs don't feel out of place, it's a very strong entry in their discography. The themes of greed, and death are a very odd choice for what is otherwise a very calming album, the eerie lyrics contrasting the happy-go-lucky soundtrack around them.

Sense is a lot of fun, and one of their most popular songs to date. The acoustic bass undertones the other woodwind instruments playing over-top. As is with a lot of the album, its a simple, short, and effective regarding the themes and music. The piano and soft singing in this one is what gets to me, it's nearly impossible to not nod your head to this one.

Bone is really great, and is a little more varied than the first song on the track, with an entirely different ending, solo bits and more focus on flute. Also super catchy and noddable. The use of the arco on the bass is really great, and adds to the end with the pull-off.

Dirt is a perfect song in my opinion. It has one of the best melodies they've ever composed and has such a nice use of all the instruments, everything is in place on this one. The chord progression, the vocals, everything on this one makes it a 10/10. The harmonica as well is really great.

Paper Mâché Dream Balloon, the title track which has another really insanely strong melody and progression, it's just a fantastic song. It's a little more energetic going into the double time and has some of my favourite lyrics. The instrumental section is a highlight for me, as well as the sudden diminished ending.

Trapdoor is a pretty silly track, but this is where there's a change in style in terms of lyrics, going from silly to a little more sinister, and eerie. Goes into 2/4 on some of the 'trapdooooor, trapdooooor' parts, making it fun to count. The vocals are a lot more varied on this one and are probably the most fun on this album. The piano chords are probably my least favourite, and the song doesn't really go anywhere, doesn't have a different ending or anything. (the music video is great for this one though)

Cold Cadaver feels very similar to the other progressions in previous songs, but lyrically its different. It continues the ominous kind of trend, talking about a corpse with very happy music. The harmonica whenever it shows after the chorus is awesome, kind of bluesy, maybe foreshadowing the next song. A little touch of sitar that appears later as well. This one is just good for me.

Bitter Boogie goes so hard, and is also one of my favourites. Very catchy, very upbeat and has a bit of a shuffle-type triplet swing to it. The bass line is really effective. The tuning the guitar down during the breaks is great, and works with the bluesy vibe. Ambroses section is really great in this one, using the more gravely parts of his voice. The section at 2:20 with the dimished feel is sooo good. A really fantastic song.

N.G.R.I. (Bloodstain) is maybe the weakest for me on the album. A touch too repetitive, and feels s little lacklustre melodically considering the other competitors on this album. The sitar is a really nice addition, and maybe why it doesn't have much motion considering the drone. Similar to Trapdoor has some 2/4 bars thrown in. Stu's voice on this one is cool, a little deeper to change it up a bit.

Time = Fate is not bad, not one of Cookies best songs, but its solid. A tiny bit cheesy for my liking, but not bad. Has some really great chords on the chorus, and utilizes harmony for the flute which works really well. The instrumentals on this one are great.

Time = $$$ is another one of their best. Keeps a really great groove, really great chord progression and everything. The melody is really amazing on this one. The drums doing different fills at the same time is a great thing to listen to. This one has a little more focus on the guitar. It also keeps the critique of greed going, and has pretty fun lyrics to go along with that.

Most of What I Like is more mellow and fits well on the album. The vocals in the background doing harmony is something I noticed just on this listen, and it's really cool. Stu on the clarinet is great and he does this kind of strained vibrato by adding more air that sounds pretty fitting (this also happens on Sense). The harmony on the 'you always shut your eyes...' part is soooo good, and adds the more Beatles-y element to this one. Ending has a fun blues jam as well.

Paper Mâché is such an amazing wrap up to the album, using the flute to create a medley of all the themes played in a row. The transitions and the changes to each song are also really great, which is likely done to keep the same mood and tempo going through the song. I'm not really a fan of the rewinding that happens, but I can appreciate the experimental (possibly thematic?) ending to this piece. Explosion = Funny.

Issues: I think my only issues are really that some of the songs aren't as good as others which is not even that great of a critique haha, it really is just an amazing album.

Strengths: This one honestly is just so good, it's varied, it flows, great lyrics, mix, everything. It takes very simple forms and progressions and adds so much harmonically using the various acoustic instruments. The chill nature of this album is so great to listen to, and I can easily listen from back to front this entire thing.

I'm giving this one 5 stars because it's way closer to 5 than 4. It's not perfect, but it is really close. It's a masterclass in newer indie rock that takes inspiration from the old, and incorporates new things.

This one is for the people who are into more prog-indie-psychadelic (though this album only dabbles in prog). It's a pretty good album considering this is pretty much their second indie album. I appreciated the thematic and structural constraints that they put themselves to make this album, seeing as how each song is 10 minutes and 10 seconds. This constraint works to the favor and dismay of the album because for me it's a fun little album that's split into quarters, but also one that feels like it stretches on for just a bit too long.

The River is 5/4 through the first 8 minutes and generally is just a solid piece, fun dorian groove and solid melody. The last 2 minutes for me are where the song genuinely shines, seeing a shift to 4/4 with the groove changing to a more head bopping one (for me at least). Has the issue of being a bit tedious, more on that in the end.

Infinite Rise kind of reads like a children's story with the lyrics all being the same rhythms, and it generally is just a fun song. Very chill song, and the sound effects really add on to the song and the kind of silly nature of it. Has the same issue with being a bit tedious.

God Is In The Rhythm is probably my least favourite, with the progression of 1-6-2-5 and the vocals being too strained for my liking. This one really doesn't introduce any new ideas, but it does also have a decent melody, also tedious. Highlight is the solo's, the bass solo is great, and interesting that the drums go way into the background during them.

Lonely Steel Sheet Flyer is my personal favourite on the album, and up there with some of my favourite Gizz songs. It's just a great song, very floaty and very fun riffs being played during the song. The pick scraping with reverb works to great effect here, adding to the aerial feeling. It goes basically all the way through besides the chorus just doing a 1-5 and it's simple but nice with the bass line in this one. This one is a little more varied and gives itself a little more space to breathe with the intro/middle phrygian sections.

Some other things of note: This was the start of the albums being entirely connected (besides Eyes Like The Sky, which is the only one I don't intend on listening to). This also kind of cemented their more Indie side, and would be further developed in Paper Mâché Dream Balloon. The drums are mixed in a really interesting way, and I'm not sure if this is just me only noticing this now, but each of the kits for Eric and Cavs are panned slightly to the left and right and will transition between each other. I noticed this in Nonagon, but I didn't know this was on earlier albums like this.

Issues: It just goes on for too long for me. The songs don't have enough justification for how they're formed and it gets a little tiring hearing the same stuff for 10 minutes with really only major change in the lyrics. The mixing in the early albums was never my favourite, this kind of grainy older feeling mix worked for the garage rock albums like Mind Fuzz and Nonagon, but for the indie stuff it was never that great.

I give this one 3 stars because it's sort of forgettable when mentioning their huge catalogue, but it's not bad music. Just a little too much of the same.

I just relistened to this album for the first time in a while, and I enjoyed it a lot more! I think the psyche-garage aesthetic on other albums of theirs has rubbed off on me, and I found myself smiling at a bunch of the pieces. Considering its so early in their development as a band, its cool to see that this one was the one to put them on the map. It's generally a pretty high energy album with hints of what is now known as their kind of style (such as the first 4 songs fading into one another), and I definitely appreciate it for what it is. It's a really solid album on its own and it sounds like the band had a good time recording it.

Not my favourite but its not bad! I think it's a little too unjustifiably tedious for me at some junctions, but there's some really compositional work here. Would be a good entry point for people if they're looking for a way into the "Gizz-verse".

First I want to make it clear that I really liked this album. It was a very well made atmospheric, dreamy, ethereal psychedelic rock album. A very laid back and immersive experience, which I unfortunately didn't find to be completely engaging as a full length record. After listening to this album several times I had concluded that I loved two songs and thought the rest were decent or good, bringing down my enjoyment for the project as a whole. If I were rating this based on the single track "Head On/Pill" this would be a strong contender for one of the bands best projects and probably be in their top 5 albums ranking for me, it's probably my favorite song the band has ever made, or at least a strong contender. The title track is also great and closes out the album very well. The bands instrumentation remains intricate and thoughtful, with each member contributing to the album's overall lushness. While the melodies and rhythms might be more subdued compared to some of their other works, there's a careful attention to detail that creates an intricate tapestry of sound. The interplay between the instruments, as well as the subtle incorporation of acoustic elements, adds depth to the listening experience.The albums dreamy nature and extended song lengths might not resonate equally with all listeners. While the deliberate pacing contributes to the overall atmosphere, it could potentially lead to moments of drifting attention for those seeking a more immediate and dynamic musical journey. For those accustomed to King Gizzard's more dynamic and experimental works, 'Float Along - Fill Your Lungs' might come across as too subdued or lacking in diversity. The albums dreamy nature could also potentially lead to moments of drifting attention, making it best suited for times when a more introspective mood is desired. Not to completely ignore the positive aspects of this record, King Gizzard's instrumental dexterity is on full display here, with each member contributing to the album's lush sonic landscape. The intricate guitar work, subtle use of keys, and carefully woven percussive elements all contribute to the album's captivating soundscape. The craftsmanship behind the music demonstrates the bands commitment to creating a multi-layered and immersive listening experience. One of the albums notable strengths is its ability to establish a distinct atmosphere. The songs flow well into the next, creating a cohesive sonic journey that washes over the listener like gentle waves. The psychedelic elements are still present, but they've been softened and stretched out, resulting in a more meditative and introspective mood. This shift showcases the willingness to explore different facets of their musical identity. 'Float Along - Fill Your Lungs' offers a serene and contemplative journey into a more relaxed side of King Gizzard & The Lizard Wizard's sonic spectrum. While it might not resonate with those looking for a more energetic offering, the album succeeds in creating a tranquil space for introspection. Its dreamy ambiance and deliberate pacing make it an ideal companion for moments when the listener craves a calm and immersive sonic escape.

- 7.5/10

King Gizzard & The Lizard Wizard's 'Eyes Like the Sky' stands as a testament to the bands unparalleled creativity and willingness to transcend conventional musical boundaries. This unique album presents an audacious fusion of spoken word storytelling and musical experimentation, crafting an immersive Wild West experience that's equal parts enthralling and daring. The consensus is that the standout feature of the album is its immersive storytelling, the spoken word narration, backed by the bands signature psychedelic rock instrumentation, creating a vivid narrative that transports listeners to a desolate and lawless Western landscape. The album's concept is engaging, unfolding like a gripping Western novel, with each track serving as a chapter/subchapter that delves deeper into the rugged terrain of the storyline. The spoken word passages, accompanied by the bands instrumentation, evoke vivid imagery of the frontier, transporting listeners to a time and place where lawlessness reigns supreme. The storytelling's authenticity and grit lend the album a distinct identity that is hard to ignore, but easy to enjoy. This only being their 2nd full length album, the group is already starting to reinvent itself, and serves as a blueprint for their future endeavors, eventually dipping their toes into genres like blues, folk, and hard rock and jumping headfirst into genres like jazz fusion, eastern inspired sounds, and heavy/progressive metal. The album effectively blends twangy guitar riffs, harmonicas, and banjos with the bands psych-rock sensibilities, creating a hypnotic blend that's both captivating and fresh. This bold musical approach underscores the bands willingness to challenge themselves artistically and experiment with diverse sonic elements. While the storytelling is engaging, it occasionally overshadows the musical elements, making it challenging for those seeking a more straightforward listening experience. Those more familiar with King Gizzard's more traditional psych-rock offerings might initially struggle to acclimate to the spoken word format and the Western themes. 'Eyes Like the Sky' also benefits from its concise runtime, making it an easily digestible experience that can be enjoyed in a single sitting. The tracks flow seamlessly, each contributing to the overarching narrative while maintaining its own unique sonic characteristics. It keeps the listener engaged, as each track flows well into the overarching narrative, while still offering its own distinct musical identity. This balance prevents the album from feeling monotonous, despite its consistent thematic focus. This cohesion prevents the album from feeling disjointed, enabling listeners to become fully immersed in the unfolding story. The pacing keeps the energy engaging, making it a compelling listening experience from start to finish. While its experimental nature might not appeal to all fans, it's a testament to the bands willingness to push boundaries and explore new artistic territories. If you're open to a sonic adventure that breaks away from the norm, this album is certainly worth a listen. 'Eyes Like the Sky is a unique experiment that solidifies King Gizzard & The Lizard Wizard as true pioneers in the realm of popular modern day musical exploration, their fusion of spoken word storytelling and psychedelic rock creates a unique sonic landscape that transports listeners to another time and place. It is in my opinion a standout addition to their discography. For those seeking a sonic adventure with a vision, this album will transport you to a familiar yet strange new and wild frontier.

- 8.5/10

'12 Bar Bruise' is the debut album by King Gizzard & The Lizard Wizard, a wild and unapologetically raw journey into the heart of garage rock and lo-fi psychedelia. Released in 2012, it serves as an introduction to the band's distinctive sound and their fearless approach to experimentation. While it may not be their most refined work, it holds an undeniable charm that captures the essence of their early creative energy. The album's standout feature is its unapologetic rawness, thanks to the unusual way this was recorded with 4 iPhones placed in corners around a garage. This unrefined quality lends the album a unique charm, evoking the atmosphere of a sweaty underground show, it's a testament to the bands ability to channel their energy directly into the recording, making for a visceral listening experience. The lo-fi production quality adds to the album's distinct character. While some may find the rawness off-putting, it ultimately contributes to the album's authentic DIY aesthetic. The deliberately unpolished sound enhances the bands gritty charisma, making it feel like an intimate live performance captured in a garage, much like early records from The Strokes. '12 Bar Bruise' also hints at the eclectic musical influences that would later become a hallmark of the bands discography. From the bluesy riffs of the title track, to the surf rock vibes of "Footy Footy," the album showcases their willingness to dip into various genres while maintaining their signature distorted edge. This diversity foreshadows the bands future forays into progressive rock, psychedelic explorations, folk rock, and beyond. Not to say it is perfect by any means, the album isn't without its shortcomings. The lo-fi production, while adding character, also occasionally muddles the intricate instrumentation and vocal nuances, making some tracks feel underdeveloped. It's clear that '12 Bar Bruise' is a product of the bands early days when they were still finding their musical identity and sound. It succeeds in creating a distinctive atmosphere that draws listeners into its world. The title track, with its bluesy undertones and catchy hooks, encapsulates the album's essence perfectly. Other tracks like "Cut Throat Boogie" showcase the bands ability to craft infectious and memorable tunes that stick in your mind. I thought it was a great debut that encapsulates the raw energy and unfiltered creativity of King Gizzard & The Lizard Wizard. While it may not be their most polished or sophisticated work, it's a testament to their fearless approach to music making and their willingness to embrace imperfections. Fans of garage rock, lo-fi, and those curious about the bands beginnings will find this album to be a captivating snapshot of a group on the cusp of something truly remarkable.

- 8/10

It's hard to believe that Australia's KING GIZZARD & THE LIZARD WIZARD has only been around since 2010 and only released their debut album eleven years ago in 2012 but this prolific band has somehow found it in them to release 24 albums in a wide variety of musical styles in that decade plus time frame. While dabbling in everything from psychedelic garage rock to neo-psychedelic prog, the band tackled the world of thrash metal with its 2019 release "Infest the Rats' Nest" and has found it on their work table to continue down this path in 2023 with the exhaustingly named album PETRODRAGONIC APOCALYPSE; OR, DAWN OF ETERNAL NIGHT: AN ANNIHILATION OF PLANET EARTH AND THE BEGINNING OF MERCILESS DAMNATION.

Like most of KING GIZZARD's output, this album is based on a series of recorded jam sessions that were then teased into various genre twists. Looks like thrash infused speed metal won the contest this time around and so it made the perfect noisy backdrop for an overall concept that tackled sci-fi themes such as dragons and witches. Tried and true heavy metal themes from the getgo. The album features seven tracks hovering close to the 49-minute mark however if you happen to shell out the extra dough for vinyl release you will be treated to the 14-minute bonus track "Dawn of Eternal Night" bringing the playing time up to 63 minutes.

Honestly this is one of those bands i don't really get the hype about. Sure these guys have crafted some interesting psych prog that does indeed strike the right mood but when it comes to the band's metal creds i find them lacking in many departments. First of all this to my ears basically PETRODRAGONIC sounds like a Motorhead tribute album as hinted at on the opening track "Motor Spirit" which reveals its true intent with its track name. Almost as if a homage to Lemmy himself the album meanders from crushing speed and thrash metal riffing crunchiness to moments of psychedelic interludes that may have found a home in an early Hawkwind offering.

Likewise even the vocals are on Motorhead mode and the seven tracks seem to not vary much in terms of intensity or creative input. While the thrash metal guitar chugs are pleasant enough the songwriting seems out of place in the context of a thrash metal experience which honestly throws the entire thing off for me. The slower moments of muddled guitar riffs with keyboard accompaniments sound more authentic to my ears as the band lacks the songwriting skills and drumming prowess to animate a true thrash metal attack. It honestly sounds like a non-metal band is taking its first steps into unfamiliar territory! Not to mention a complete lack of virtuosity in terms of lead guitars, chord progression changes and a complete failure of dynamic instrumental interplay. Yes virtuosity matters in thrash metal.

Since the 1980s the world of thrash metal has produced countless mega bands ranging from Metallica and Megadeth to Slayer, Sepultura, Coroner, Sadus, Exodus, Forbidden, Overkill, Annihilator and Vektor just to name a very few and somehow KING GIZZARD fails to approach a competency even close to any of these great bands. What we get here is more of a proto-thrash approach in the vein of Motorhead most of all with some aspects honing in on early "Kill Em All" Metallica and early 80s thrash metal before the genre got too sophisticated for many non-metalheads. Well to each their own but this band just doesn't pull off extreme metal to my liking. It sounds disingenuous on many levels and fails to beckon a return visit of any sort. I would recommend the good Aussie GIZZARDS to stick to the world of heavy psych and neo-psychedelia which suits their abilities because i find this rather uninspiring. A band that truly has chosen quantity over quality.

Take one part Motorhead, one part Megadeth, and a smidge of Sabbath and you have this album. If this was meant to be a retro blast from the past then congratulations. Only problem is, it's not as good as any of the bands they are trying to emulate. Every song sounds samey and I don't enjoy the timbre of the singer, so it is a difficult album to get through. Nothing original or groundbreaking here, but the musicianship is decent and that alone saves it from being a one star rating.

I need ten more words to make it to one hundred. There.

King Gizzard and the Lizard Wizard's discography is pretty sprawling, but Nonagon Infinity (so named because it has nine songs which, if you put the album on repeat, presents a continuous musical cycle with no beginning or end) is one of the more widely-celebrated landmarks. Compared to Polygondwanaland, the first album of theirs I'd heard, it's somewhat more direct and straightforward - think psychedelic rock with a garage rock attitude, or perhaps garage rock that's been dropping acid, rather than the sort of progressive space rock approach of their more elaborate and prog-like releases. It's a fun and entertaining example of the type, and I'd say is worth a listen, but it doesn't reach the top tier for me, and leaves me wondering whether King Gizzard might be a band which churns out large quantities of four-star albums when they could be putting out a smaller number of five-star albums.