For their 3rd album in 8 months, King Gizzard have pivoted away from the microtonal sounds that have made their previous 2 albums so disinterested and have moved towards pop. Yes, this is the last thing I expected them to do, but this take on Psych pop is actually pretty solid. Now let’s not deny the fact that is firmly still Gizz, they’ve just switched out the instrumentals to be dreamier and synthier, and backed this up with some compelling hooks. This creates an LP that is, unusually for Gizz, vocal-focused. A lot of the leading melodies tend to follow the vocal, and this helps in two ways. Firstly it highlights the hook of the track, something that’s such a great decision as it gives the choruses that additional pop that Stu’s vocal alone may not always deliver on and helps things feel distinct amongst the hazy, psychedelic production. It also hones the ear onto the vocals, and for a record so unashamedly positive, this lively approach to songwriting elevates the tone of the record well. The songwriting here is pretty much what you’d expect in a positive Gizz record, the metaphors are very pretty and wholesome, something that’s so resonant and comforting as we approach the end of lockdown. But this album was actually written about becoming a father, and all of the well wishes Stu wishes to pass on to his daughter, not only is that incredibly sweet, it allows the band to approach topics that they’re well known for covering like climate change, and tackle them in a new perspective. This adds to the album’s freshness. None of this is to say this album is perfect, although consistent I found this album to be lacking in distinct moments, which is an issue in a pop record. I also find that a couple of tracks towards the back end of the record don’t stick quite as well, especially Black Hot Soup with its more microtonal sound. But I’m glad that I can finally say I firmly enjoy a Gizz record, let’s just hope they don’t make a trilogy out of this one too, I don’t know how much legs it has.