Although it's a sound experience that's always nice to listen to, K.G sounds like a step backwards for a band that's used to never walking in the same place twice. Reminiscent of the aesthetics, sounds and structures of one of their most beautiful reference Flying Microtonal Banana, the band offers us again a confusing and exciting immersion in the heart of the Middle East. What is reassuring on the other hand, is that you won't have time to get bored for a second.
Apart from those who discover the Australian psychedelic band, productivity and creativity has always been one of their characteristics that has not finished bluffing you. When you look at the number of albums, without any real failure, it must be said that King Gizzard & the Lizard Wizard was one of the most remarkable bands of the years 2010. Obviously, being so prolific, the band could not leave behind only masterpieces, nor only excellent albums, although I easily count 3 of them with I'm in Your Mind Fuzz (2014), Nonagon Infinity (2016) or Flying Microtonal Banana (2017), not to mention the Live albums and other mythical songs. Like every artist/group, King Gizzard has its weaknesses, and I would say that K.G is rather in the successful albums that will not make a mark on people's minds and is right in the middle of their discography if we had to classify it. But then again, you have to understand how respectful it is already. It is thus the beginning of the 2nd decade of existence of the group, and surprise, it is very rare to point it out, but the group comes back on a theme quite close to the one it had already experimented before. The construction of their album and the context may have played on the final rendering of it. K.G started to be reflected individually and then collectively, in a fragmented way since the beginning of the year, post-covid until today, which may explain why the group preferred to start on existing bases, on known lands.
In 2019, the band was coming out of a very prolific year with several albums and a tour that gave birth to several live albums, but this year 2020 forced them to see things differently. I don't actually think that each member of the band said "word for word" we are going to release a sequel to Flying Microtonal Banana, but globally, revisiting oriental sounds as if you were crossing huge deserts at full speed with a buggy seems to be a good way to forget and to retranscribe at best the live essence that the band has with a context where we are deprived of quite a lot of things. K.G never goes out of its theme, even if at times the band uses different musical variations, going from a warm garage rock to a hypnotizing "disco" for example. The homogeneity is so pronounced that I ended up making a kind of reproach after several listenings, when you realize that some songs could have avoided being too much "the continuation of the others". On the other hand, it is also a sign that K.G. was thoughtful to be successful at the expense of a lack of risk-taking and experimentation. The band shows that it has mastered its subject perfectly, building an album that is thoughtful as such, but that takes advantage of the strength of its singles and individualities to be listened to also in a punctual way. It is also for this reason that K.G is easy to access, much more than some of their previous albums. A good for a bad that will inevitably cause harm to the replay value, but once again I think that there are songs that will last over time, like Automation or Honey for example. To conclude, if you're a fan of the band or a fan of a psychedelic musical trip, well rock n roll in the spirit, go ahead and listen to K.G. but don't be too greedy