3 out of 5

Label: (not on label)

Produced by: Gareth Liddard (recorded by)

It’s okay: you can be disappointed by Part 3 of this three-part track, even though it’s an interesting piece of atmospheric evildom committed by the almighty Australian teamup of KGLW and TFS, and I know you’re looking at that teamup, already shaking your head in disbelief that these two stalwarts groups of genius could do something wrong, when, even at their most average or indulgent they’re still worth a listen, and now we’re smashing them together for a damn Satanic Slumber Party, so what in the heck is the problem, but the thing is… You can’t not be disappointed by Part 3 after hearing Part 2.

For Part 2 – Midnight in Sodom – take all of the excitement you had, multiply it by about 500, then do something funky with impossible numbers and spin around a few times for good merit until numbers that aren’t numbers are spinning and you have no idea what’s what anymore; Part 2 is better than that. It definitely leans on the TFS side of things, with a franticness owing to the band’s sound, and Gareth Liddard spouting every devil-adjacent phrase he can think of with frenzy, but backing that there’s a rocking solidity that graces the song with King Gizzard psych-fuzz guidance. It is an almighty freakout on par with either bands’ bests, each side enhanced by the other. It’s a trick that wouldn’t work for a whole album, but for one intense 5:42 track, abso-drokkin-lutely.

Part 3, Hoof and Horn, is a 10-minute collage of samples and sounds that vibes with the doom-y nature of the recording for about half its runtime, then peaces out into ambience until a fuzzy final couple of minutes that doesn’t really make an impact. Again: interesting, but it’s too spread out to be an effective B-side / coda to Part 2.

Part 1 – The Chairman’s Portrait – is a minute long incantation, which is a fair lead-in, but you could essentially consider this part of Part 2.

The thing about that rating, then, which is essentially one uber hit and one resultant miss, is that this single is totally worth it just for that one hit.