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tbh ive had this marc bolan image sitting on my desktop for a while but idk where its from. most i can discern is that its from 1977. maybe its from an interview?? the pose gives me that impression

K.G. is an album that I feel will become the most divisive album in King Gizzard's discography. Prior to this, I'd say 2017's Murder of the Universe was one of their more divisive albums with its use of spoken-word passages. The band has put out 15 unique studio albums up until this point. Oddments does not sound like Nonagon Infinity, and Nonagon Infinity does not sound like Flying Microtonal Banana, but K.G. does sound like Flying Microtonal Banana. It's a blip in the rest of the King Gizzard discography, but it's broken their 15 album streak of unique stylings.

I don't think all of this record sounds like Banana. The first half, in my opinion, sounds the most like it's microtonal predecessor. I think that's why two out of the three pre-album singles were from the first side of the album. "Honey" was something unique as it was not only an acoustic track, but also a love song that didn't have weird undertones. "Automation" and "Some Of Us" would not have felt as out of place on Banana as "Honey." "Automation" has a sound reminiscent of "Anoxia" or the lighter parts of "Doom City." The sound on "Some Of Us" makes me think of a microtonal version of a Polygondwanaland track. "Straws In The Wind" has a similar structure to "Billabong Valley", Flying Microtonal Banana's Ambrose Kenny-Smith track, where vocals with minimal instruments are interspliced with parts focused on instrumentation. The track "Minimum Brain Size" feels less derivative than the aforementioned songs, but still feels more like something from the first microtonal volume in terms of sound.

The second half of the album is the strongest half. It's the side that feels the least derivative and has the most experimenting when it comes to sound. "Ontology" picks up from the groove at the end of "Some Of Us" and by god does it pick up. This song is what I'd expect to hear out of a battle in a desert area of an RPG. Everything works well together to create this atmospheric sound, and this track leans more into the Turkish sound that inspired the microtonal concept in the first place. The shift in sound around the 2:53 mark is especially wonderful, with the song suddenly becoming a lot heavier while still retaining the Turkish inspired sound. The album picks up even more steam with the house inspired "Intrasport" following right behind. It's so damn catchy and I love the groove on it. Guitarist Joey Walker sings on this track, and it's only fitting considering his side-project is for electronic music similar to this track! I'm absolutely in love with this song and I won't shy away from calling it the strongest out of the four singles for this album. "Oddlife" follows this track, which is slightly more mellow than the two that came before it. Joey and Ambrose share lead vocals on this track which isn't something that I can recall happening before. They've shared plenty of backing vocals (most remarkably on Polygondwanaland), but this appears to be the first time they've shared lead vocals. I dig it, and I'd like to see more lead duets from them in the future. "Honey" is the second to last track and one I've already touched over before. I do wish there were more acoustic songs on here considering how lovely this one sounds. Its placement is rather interesting though. There's an unspoken trend in King Gizzard's discography where they'll place a softer sounding track right before something rambunctious or heavy. Nonagon Infinity does this with "Mr. Beat" and "Evil Death Roll", I'm In Your Mind Fuzz does this with "Hot Water" and "Am I In Heaven?", and K.G. does it with "Honey" and "The Hungry Wolf Of Fate." Microtonal doom metal isn't something I was expecting to hear on this album. I don't think the microtonal sound is as pronounced on it as most of the other tracks, but I'm quite impressed with the choice to end the album on such a hard note.

I don't dislike the album, not by any means. I like the tracks on it but I do feel that it's not one of their stronger records. I'm not going to pretend I was clamoring for another microtonal album because, quite honestly, I've been hoping for a glam rock album for a couple of years now. I can understand how the songs on here may disappoint those who were eager for another microtonal album though. While Flying Microtonal Banana is one of my favorite albums in King Gizzard & The Lizard Wizard's discography (and the inspiration for the thread title), K.G. doesn't completely live up to its predecessor. That may actually be a good thing though. It's about time that we get another album that's not up to par with their recent output. I think the fans have accidentally started getting their hopes up too high, and I hope this album serves as a reality check that not everything the group puts out is going to be good.

Also, Cook Craig should've sang on "Some Of Us." No hate to Stu Mackenzie but I can only imagine how good Cook would've been on that one.

where did all that height come from?