RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Anti-capitalist riffs
EWAN KATZ applauds yet another genre-bending release from the ridiculously eclectic Australian rockers
lizard
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
Flight b741
King Gizzard and the Lizard Wizard
HAVING delved into electro-pop on their last effort, Flight b741 marks a significant stylistic departure by taking off into a rowdy roots-rock adventure. Gliding guitar riffs and seguing numbers give the feel of one continuous piece on a record reminiscent of some of the Grateful Dead’s finer work.
The album’s lead single, Le Risque, features a driving bassline by Stu Mackenzie in lieu of his usual guitar duties. A thumping track worthy of lead single status, Le Risque marks drummer Michael “Cavs” Cavanagh’s vocal debut in a coolly delivered spoken-word verse.
Opening with a breezy country track, Mirage City tells of a dystopia that lurks behind a paradisiacal facade.
