Swamp green coloured vinyl. Sit back and strap yourself in as seven-headed Aussie rock beast King Gizzard & The Lizard Wizard return with Fishing for Fishies, perhaps their most perfectly-realised album to date. Here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present. The thirteenth album since their 2012 debut – and their first following the release of five vastly different albums in 2017 - Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of The Bird Song (think the lysergically- soaked Laurel Canyon circa 1973) and on through the party funk of Plastic Boogie (which somehow summons the spirit of Stevie Wonder’s Innervisions) the road-trucking, Doors-like highway rock of The Cruel Millennial and Real Is Real - what The Carpenters might have sounded like had they existed entirely on vegemite and weed - it’s a dizzying, dazzling display. Hell, The Gizz make it look so easy. And that’s all before we even get to Acarine, a futurist blues tune which heads off into previously unchartered territories of shimmering Eno-esque ambient and dark John Carpenter-style electro, and the electro squelch of album-closing single Cyboogie, on which five of the seven King Gizzard & the Lizard Wizard members play synths. It’s a stomping vocoder-lead anthem akin to Georgio Moroder or Trans-era Neil Young and a triumphant conclusion to an album that is as surprising as it is thrilling, as unexpected as it is effortless.