![]() I’m starting to sense this place might be a little off. Unlike the last two, this song ends in silence. Everything is a little more sparse, the rhythm section tighter. Simultaneously describing this new world as an utopia, but also a prehistoric, dangerous place where our “bodies are tasty morsels.” The 80’s synth is here again, and in way the entire track feels like an expansion on the last two tracks before turning into a half-time jam. The drums take a front seat here, pushing the song forward, with the speed of the 7/8 giving the song somewhat of a stutter. Sixteenth-note cymbals to finish, transitioning to… You can already feel the effort put into this album compared to other releases this year. A short track, but interesting nonetheless. Palm-muted acoustic guitars and an 80’s synthesizer dominate the proceedings, along with the usual presence of a mouth organ. It seems we’ve reached Polygondwanaland, and with it comes a constantly shifting rhythmic palette. Seamlessly transitioning from the last track, we open with some Aussie vocal narration. Did I mention the drumming is ridiculous? They make these strange polyrhythmic excursions so easy to bob along to. After fantasizing about this place for a while, the song opens up for a guitar/flute solo that might be my favourite moment on the record. Hushed vocals speak of the mystical Polygondwanaland at the end of the river, and it’s as eerie as it is inviting This looks like the true start of the album’s story. The title track is a little easier on your speaker’s bass system, and starts a little simpler too. The song takes a moment to let you recollect your bearings around the 7:30 mark before launching into heavier and heavier places, ending in a crushing finale of desperation, an apocalyptic warning shot that evokes the world falling under its own weight. Some things are the same, like Stu’s habit of mirroring his vocal line with the lead guitar, but there’s musical evolution here – the song breathes in a way the band’s usual pumping drums don’t allow for. For a second it felt a little like something from Quarters! but the meditative, mystical two-step rhythm layering over what’s already there throws you for a loop, and from there you’re unsure whether to attempt to keep up or let the song just roll. Right from the first bass note we’re in interesting territory as a 7/8 groove establishes itself. An interesting idea, and a thank you to the fans in some ways. Let’s go track by track. King Gizzard have released the album for free, allowing anyone to use the album however they choose with no copyright restrictions. Polygondwanaland, their latest, is in the public domain. Before this latest release, Flying Microtonal Banana has remained the most interesting of this year’s bunch even if it doesn’t hit the highs of their previous work, Murder Of The Universe didn’t feel like an album, and Sketches Of Brunswick East was a nice diversion. ![]() ![]() They can throw ideas out there right now because judgement surely can’t be too harsh when it’s part of a 5-album year. King Gizzard & The Lizard Wizard are pulling through with their 4th of a supposedly 5 albums in 2017, and while I appreciate the endless onslaught of interesting music, it feels like this has been a time for them to experiment.
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