Like Gumboot Soup, this album presents a wide variety of musical ideas and (also like Gumboot Soup) executes the majority of them very well and manages to create an experience that, despite the lengthy runtime, doesn’t drag.

For context, this album was originally supposed to be used during the interludes of Gizzard’s performance at their soon-to-be-cursed festival “Timeland”, which ended up being cancelled. However, the mythos and hype surrounding this album was ultimately more interesting than the music itself, which, in my opinion, sounds like a big mish-mash of ideas that just ended up leaving me confused after the album finished.

Since I just listened this album’s predecessor “…And Justice For All” very recently, I feel obliged to compare the two.

Firstly, and perhaps most obviously, the music itself is a lot less complex and prog-y here than it was on the last album, which isn’t necessarily a bad thing because it made this album a lot easier to digest for me.

Secondly, the lyrical content is a lot less political here, with the band instead focusing on more personal matters like ... read more

Honestly, most of this album is pretty great. It just falls apart a bit during the last few tracks.

YEEEEEAAAAHHHHH!!! GLAM ROCK IS BACK BABYYYYYYYYYYYY!!!

After the last two albums, it was nice to see a refreshing change from microtonal rock to psychedelic synth-pop end up working so well. Might feel a bit repetitive at times but looking back I feel like that was done intentionally so the album would stick in your mind long after finishing it.

The perfect album for a lazy weekend afternoon

While I usually tend to lump “L.W.” with its brother, “K.G.”, I actually think this one is an improvement on the last. The arrangements and lyrics are more interesting, there’s a nicer flow between tracks and the drumming on here might be my favourite on any King Gizzard album

While it didn’t hit the same highs as Flying Microtonal Banana, “K.G.” (along with the subsequent “L.W.”) proved that there was still some gas in the microtonal Gizz tank

The second half of Gizzard’s environmentalism-focused year, Rats’ Nest slams its message right into your face and proves itself as the band’s heaviest album since Nonagon.

While I don’t love this album as much as I did when I was first getting into this band, I can still fully get behind the environmental message and can admit that it has its moments.

Last time I went to see these guys live, they played most of the songs from this album and that show made this one of my favourite albums if all time.

This album doesn’t hold back by delivering a crushing and still-relevant outlook on the modern world.

Its fine. While I have admittedly gone back to this more times than I should have, I still think its a pretty entertaining listen. Brings nothing new to the table though and this type of commercial rock was done much better on albums like Brothers and El Camino.

For an album featuring tracks that were left on the cutting room floor during King Gizzard’s 2017 release wave, it’s amazing how GREAT a lot of these tracks are, especially with the breadth of variety here. There’s heavy psych stompers and mellow jazzy cuts yet they all manage to fit together so well

Another Gizzard classic! This album sees the band combining the prog-rock they had previously dabbled in on albums like Nonagon Infinity with the narrative aesthetic of Murder of the Universe to create one of the best progressive rock albums of the 21st Century. The production is super crisp too

A decent prototype of the kind of sound Bowie would eventually perfect on Station to Station

I’m admittedly a bit biased with this one since I listened to this throughout my childhood and I have a lot of memories attached to it but I still listen to this album today and think it has actually aged very well

BIBLICAL

Probably the perfect argument against the term “sophomore slump”, Black Sabbath prove throughout this album that they are not to be messed with