L.W.

L.W shows the band continuing to enjoy the sounds of stringed instruments and drum kits that are tuned to microtones. Guitars have extra frets so that the band can hit “non-traditional” notes; the drums are pitched slightly off-key but are still hit in such a syncopated way so as to keep the listener’s foot tapping. The result is another collection of slightly wonky, very head-noddy songs.

A little more forward in the use of bouncing rhythms. [Mar 2021, p.28]

At their most effortlessly eclectic. [May 2021, p.82]

With their feet up on the couch and laurels well and truly rested upon, they’ve gifted us with L.W. which (excepting its sister record) is undoubtedly the most comfortable LP the group has released in quite some time.

It's not just a follow-up to their first mildly disappointing venture, it's a bracing reminder of just how thrilling King Gizzard can be at their peak.

This is an impressive and well-rounded collection of work from the hard-working Australians.

L.W. resembles K.G. after three additional months of lockdown: It’s more antsy, more angry, and less concerned about letting its gut hang out, allowing the motorik acid-folk of “Static Electricity” to gallop toward the six-minute mark in a blaze of microtonal shredding. But if the songs are looser, the targets are more precise.