It's clear that the experiment was a success and that the microtuned instruments fit in perfectly with their oddball aesthetic. It's also evident that King Gizzard can do no wrong, and as the first of five planned albums for 2017, Flying Microtonal Banana will be hard for them to top.
While this experiment (and use of the zurna) might perhaps not being everyone's cup of tea, Flying Microtonal Banana is a rollicking groove machine of a record, as explorative and endlessly searching as the band themselves.
Like last year’s Nonagon Infinity, King Gizzard’s performances are muscular and relentless. Though the songs still fade into one another, Flying Microtonal Banana is far more compact.
If Flying Microtonal Banana’s randomized approach is ultimately less transfixing than Nonagon Infinity’s maniacal focus, it nonetheless shows that, after eight previous albums, this band’s creativity and curiosity knows no bounds, and their singular balance of anarchy and accessibility is still in check.
‘Flying Microtonal Banana’ is equally as bonkers in musicality as its title suggests - yet its dynamic, ever-changing psychedelic rock certainly refreshes the industry palette.
On Flying Microtonal Banana, their mix of experimentation, insatiably chugging rhythms, and classic psych screech-and-squawk, sounds so, so right.
Flying Microtonal Banana is a rock album drawing from a more nuanced tonal palate. It's a serious ask; why did western music abandon this complex tapestry of notes in favor of comfortable simplicity?
This is probably the most focused full-length yet from the Melbourne outfit, each track imbued with a palpable sense of purpose.
Flying Microtonal Banana is occasionally pleasant but mostly pedestrian. If anything, it’s a step back from the experimentation of last year’s fierce Nonagon Infinity.