Nonagon Infinity

For all the exuberant looseness of their recordings, most remain essentially song-based, skilfully produced and slyly focused.

It can be a taxing eardrum workout--its beefed-up guitar work (from Walker, Stu Mackenzie and Cook Craig) and jackhammer rhythms (drumming duo Michael Cavanagh and Eric Moore) barely let up. But it’s also loads of fun.

Nonagon Infinity is overstuffed with so many stomach-tossing thrills that you’ll actually be jonesing to ride the roller-coaster all over again.

King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever. That can be debated, but at the very least artists like the Flaming Lips, Ty Segall, and others who think they are doing something cool and weird should check it out and take a few notes.

Four albums in 18 months might induce a malaise within lesser bands, but King Gizzard's current purple patch peaks here. [Jun 2016, p.96]

King Gizzard's most cohesive record to date--a hyper-detailed punk opera that few of their peers have matched for intensity, ambition or sheer derangement. [Jun 2016, p.77]

Nonagon Infinity is a definite mind-melt (see how many times you can loop it without losing it), and impressively keeps up with its initial premise.

It's seamless, silly, but seriously good stuff. [Jun 2016, p.113]

A whirling dervish of an album, and a culmination of all their previous hard work, Nonagon Infinity is the sound of a band at their wigged out best.

There is a sense of urgency to this latest offering, as if last year’s fey and breezy LP Paper Mâché Dream Balloon acted as a process of blissed-out creative rehab.

It sounds like they’ve given kautrock an intense, life-threatening electric shock, while simultaneously floating through 41 minutes (or your entire lifetime, dare you interrupt the endless loop) with the elegance and unpredictability of a kite in the sky.

It makes for something of a experimental jam session where its members are trying to perfect a unified sound alongside different lyrical approaches, which strike a fine balance between campy sci-fi imagery and silly, doom-laden metal tropes. And yet, once it’s fused all together it comes across as one big slab of raucous, careening psychedelia. King Gizzard are still grounded to their garage roots.