By Jamie McNamara
Australia must have the best acid. The country is home to a massive resurgence of psychedelic rock that runs much more ragged than its American counterpart. But while Kevin Parker and co. in Tame Impala have ventured further and further from their psychedelic roots, fellow Australians King Gizzard and the Lizard Wizard have picked up the slack with a prolific output of mind-bending garage-rock.
Nonagon Infinity is the Melbourne septet’s seventh album in six years and it’s the latest experiment from a band that refuses to sit still. The album was made to function as an unbroken loop, the end of the final song serves as an intro to the first. It’s a strong dose of gimmick, but KGTLW never rest on it. Instead, the album rips from front to back with impeccable garage-rock swagger and confidence.
Nonagon Infinity is interesting solely because it seems so far removed from its contemporaries. The tracks on the album blend seamlessly, often to the point that it’s hard to tell where one track ends and the next begins. Couple this with the band returning to various lyrical and melodic motifs throughout the album and the result is a disorienting album that is utterly captivating, but impossible to pick apart.
The album does suffer from being stuck in fifth gear. The band roars through songs with a blinding tempo, voraciously consuming riffs with delirious efficiency. Rarely does the music slow down, and the similarities between songs mean that a listener could feasibly listen to the album one and a half times before realising they are back where they started.King Gizzard & the Lizard Wizard, Nonagon Infinity