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Much like the album’s 2017 prequel, K.G. was recorded using a microtonal musical scale that is traditionally used in Turkish and Arabic music that requires quarter tone tunings on custom made instruments. “Automation” is one standout track full of brilliant microtonal guitar riffs. The album continues with high-energy microtonal tracks that tirelessly animate the middle of the album. Despite being surrounded by some of the album’s weaker tracks, “Straws in the Wind” contains brilliant acoustic guitar and drumbeats that sound unearthly but wonderful in the microtonal scale.

“Intrasport” is undoubtedly the best track on K.G. that projects the aesthetic of an '80s pop song with its synth-based hooks and groovy melody. It’s the track that truly proves the endless amounts of inspiration and ideas King Gizz continue to pump out – as it’s a track that’s nothing like they’ve ever done before.

The album closes with the penultimate and beautifully melodic acoustic-based lead-single “Honey”, wetting the listeners appetites for the heavy and dramatic final track “The Hungry Wolf of Fate” which is an outstanding close to the album.

Overall, it’s clear that King Gizz’s tireless effort over the past 8 years still has no end in sight as they release yet another radical and innovative album which doesn’t fall short of the endless inspiration that King Gizzard continue to shine.