this is a beautiful and heart-felt folk rock album from kevin morby. i've never listened to kevin prior, but i'm presuming that this is a dive into a new genre for him, and it is absolutely perfect. there are true moments of musical genius on this album, and the lyrics are often very unapologetic. the use of folk instruments, like banjo, violin, and harmonica, work incredibly well with the roots rock guitar riffs scattered throughout, and the beautiful perfect production, and the theme of this ... read more

maybe it's the nostalgia speaking, but i actually really do like this album. this album is infinitely better than dreamland, and the cool production choices on this album really boost the score for me. i also really like the concept of this album, and how each song ties to a different character on the cover art. there are some very mid songs on here, but there are also some great songs, like take a slice and poplar st.

this is an extremely solid pop album. the main reason i'm giving it a 7/10 is because of its spectacular production. i don't think i have heard a pop album this year that matches with this album in terms of production and creative instrument and percussion choices. the lead singer's voice is very very good, and the inclusion of a female vocalist really does bring a great new musical perspective to this album. there are some bogus songs on here, but there are also some great songs.

what a fucking great album. this album really is a grower. when i first heard it, i just focused on the negatives, which are the much more accessible songs, like die hard, purple hearts, and silent hill. don't get me wrong, however, this album is incredibly raw, filled with just purely kendrick's thoughts and feelings about certain topics. i won't comment on the controversies, but i will say one thing: auntie diaries is a fucking beautiful song, and kendrick's use of a certain word which he ... read more

eeeeh. this album in general is extremely mid, but for a glass animals album? wow, this is the literal definition of selling out if i've ever seen it. their previous albums have such inventive percussion and production and unique styles that cannot compare to this pop sell-out mid bullshit. and some of the songs here just downright suck, and i hate the 'summer pop' vibe it's going for and fails miserably at. just a very shitty album in general.

wow. this is so bad. especially as the follow-up to vessel? holy shit man, this shit sucks so bad. the shitty production that makes it sound like it was mixed on a fucking ipod touch, the absolutely fucking awful, shitty and blatantly obvious lyrics about the radio, and the still very prevalent whiny singing from tyler joseph, especially on the last song, and holy shit man, don't get me fucking started on how bad fairly local and doubt are. overall a very, very shit third studio album for 21p.

this album is just fantastic, sure, it's got some stinkers, but it's got some of kendrick's best songs in a while. everything else about this album is pretty much self-explanatory, i mean for god's sakes, it's a kendrick record. it has most certainly aged well, and the highs on this album are incredibly high. it's got fun songs, dark songs, fucking beautiful songs, it's pretty much got a little bit of everything.

fuuuuck. this is a fucking amazing album front-to-back. the fucking beats are so insanely inventive and weird and creepy. i could literally analyse every single second of this album and take back every layer of every beat and explain why this specific sample or instrument was chosen. and then there's the lyrics, which, to be honest, i don't know much about. from what i do know, however, they are incredibly inventive as well, and as melon put it, every line is pregnant with meaning. i can ... read more

OH MY GOD WHAT A FUCKING AMAZING ENDING TO THEIR RELEASE SCHEDULE THIS YEAR. this album is truly fucking incredible, i genuinely have no words for it. it clicked with me immediately, and bro i am so fucking grateful for the inclusion of brass for the first time EVER on a king gizzard record. it works so fucking well, and the smooth jazzy approach works sooo much better than the jazzy stuff they've worked on previously. the production is immaculate, the grooves are insane, the instrumentation is ... read more

while a little better than K.G., this album suffers from the exact same things that K.G. does. bad production, annoying and very unmemorable songs and hooks, and unnecessary microtonality. i loved the microtonality on fmb because it was integral to the sound of that album. here it's unbelievably unnecessary, except maybe on songs like static electricity or ataraxia. even then, this album is just far too all over the place, and it's not worth the listen at all. this is definitely not the first ... read more

wow, this actually might be the first really bad king gizzard album. i really do not like this album whatsoever, there's like two songs worth coming back to, and they're nowhere near king gizzard's best. honey would've been a great closer, but then it goes into a really shitty garage-rock song?? that doesn't make any fucking sense, and it also doesn't make sense that the garage-rock song on a king gizz record is bad, considering that's literally how they started and that's supposed to be what ... read more

like many other people, nonagon was my first gizz album, and it's definitely a great album to start off with. it's a fun album with a very specific and cool garage rock vibe throughout, and the looping and flowing gimmick really doesn't affect the songs at all, in fact i think it makes it more enjoyable. nothing much else to say, it's just a very fun album.

damn, this is just an all-around very fun album. it really shouldn't surprise me how good gizz is at making blues/roots-rock, but it really does. the blues reaaally shines on songs like the cruel millennial, real's not real, plastic boogie, boogieman sam, hell, all of the fucking songs. and i might be a little biased here since i grew up listening to my dad's blues albums when i was little, but i just love the style on this album so much. also, i think the lyrics may be very cheesy at times, ... read more

damn, i really didn't like this album when it first came out, then i did, and then i went back to not liking it. this shit is just so all over the place and long, and there's not much coming back to. but it does mark a huge step forward in king gizz's production and mixing, as i do think the production on this album is very admirable and cool. unfortunately most of these songs sound either the same, or way too different to fit on the album. and what is this, their 200th environmentally-focused ... read more

once again, another disappointing october release for gizz. this album could've really gone places with the concept that the original made in timeland album had, but it decided to just stick to the annoying, boring, same-y jam songs that were omnipresent on ice death planets. the only song worth somewhat coming back to is hypertension because the music on it is cool, but certainly not cool enough to warrant listening to a fucking 15 minute track. just overall really disappointed because i liked ... read more

extremely disappointing release, it suffers from the same thing that quarters suffers from, which is incredibly long songs with nothing more to offer after like 2 minutes. the jammy elements are cool, but can only really work in a live setting, and really weigh the songs down if you just wanna casually listen to them. none of the music is any cool either other than Ice V and Magma, but even then, those songs are far too long and same-y to ever add to any playlist or listen to casually

I FUCKING LOVE THIS ALBUM. this shit is literally so genius, from the promotion, to the cover art, to the musical ideas, to the sheer skill of the musicians, to the three stories following one another, to how damn GOOD the songs are.

wow. yuck. that's truly the only word i have to describe this fucking monstrosity. i fucking love this album, it's disgusting, gritty, has disturbing and amazing storytelling, and it's actually probably the perfect sequel to Fishies. 2019 was a great year for king gizzard.

this album flows extremely well, as you would expect from a Gizz record, but it suffers from the gimmick, that each song is exactly 10 minutes and 10 seconds long. it works perfectly on the river, as that song feels like it deserves the 10 minute length. but with practically no switch-ups on the future songs, you're left extremely drained after sitting through this album and are just left there thinking, "what just happened?"

i don't care what anyone says, this is one of king gizz's best projects. some people might say the songs sound a bit same-y, but i completely disagree. this album delves into so many different styles that are simultaneously so reminiscent of older king gizzard albums, while also introducing a completely new sound with the synths. that, combined with the incredibly weird time signatures and polymeters on this album make this feel like such a complete and pretty project.