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KING GIZZARD & THE LIZARD WIZARD

King Gizzard & The Lizard Wizard

Infest The Rats Nest

    The planet is in trouble. Dire trouble. But fear not: Melbourne seven-piece King Gizzard & The Lizard Wizard return to save us all, this time armed only with blast beats, an arsenal of well-oiled guitars that are locked and loaded, and a desire to melt faces clean off.

    Released just six months after the uplifting blues-rock boogie and deep electro explorations of Fishing For Fishes and drawing on the mid/late 1980s golden period of thrash metal - Metallica and Slayer, certainly, but also lesser-cited bands such as Exodus, Kreator and Overkill - Infest The Rats’ Nest sees a wholly unexpected creative detour into new sonic terrain.

    King Gizzard & The Lizard Wizard aren’t mere dabbling dilletantes either. Their love of this ferocious music runs deep, and was previously explored on 2017’s apocalyptic concept album Murder Of The Universe, hinted at during 2016’s award-winning Nonagon Infinity’s more bludgeoning moments and elsewhere in numerous hardcore psychedelic freak-outs in their back catalogue.

    “In year 4 there was an older kid who was into Rammstein,” explains Stu of his early discover discovery of metal’s extremities. “I made friends with him and we put together a performance at our school assembly where we headbanged to ‘Du Hast’. I got whiplash, which I thought was pretty cool. That was my introduction to heavy metal, and soon Rammstein led to Metallica, Metallica led to Slayer, Slayer led to Kreator and Sodom. The German bands really kicked my ass and scared the hell out of me too. Later on, when I picked up a guitar I realised that shit was too hard to play, so I got into rock ‘n’ roll and garage. That was liberating.”

    Infest The Rats’ Nest is the sound of King Gizzard & The Lizard Wizard scratching the thrash metal itch, fully and unequivocally. This is an album dripping with disdain and disgust for a planet consuming itself in a mass act of cannibalism which meets the fears and anxieties of a planet head on; here is a place where uncompromising music meets the concerns of contemporary cli-fi, that emerging movement of writing centred around ecological disaster and its repercussions.

    After a punishing release and touring schedule of 2017-18, Infest The Rats’ Nest was recorded by a pared-down King Gizzard line-up. The band have always enjoyed a fluid approach to writing and recording and with guitarist Cook Craig and keyboardist/harmonic player Ambrose Kenny-Smith touring with their other band The Murlocs, bassist Lucas Skinner enjoying first-time fatherhood and drummer Eric Moore running the band’s own label Flightless (other bands they have released include Thee Oh Sees, Amyl And The Sniffers and Tropical Fuck Storm), they were down to a three-piece.

    Infest The Rats’ Nest sees Stu and guitarist Joey Walker share all the guitar and bass parts, with (other drummer) Michael Cavanagh recording all the drums. This small set-up ensures tight arrangements and maximum velocity - and another curveball from this most unpredictable (yet consistent) of bands.

    King Gizzard & The Lizard Wizard

    Fishing For Fishies

    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.

    “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it - or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

    “I didn’t really know who I was by the end of 2017,” continues Stu, of the band’s never-to-be-repeated year, which concluded with the fifth album being released on New Years Eve 2017. “It was a good kind of spent feeling though, as I like being busy. For most of the holiday period I was in the studio doing the last of the recording and mixing on Gumboot Soup. And as soon as it clicked over to 2018 I stopped worrying about recording for a while and started living instead.”

    Out of this period came Fishing for Fishies, an album in which musical motifs recur: lush piano, mellotron and synth flourishes (the bulk of the album was written on piano); Ambrose Kenny-Smith’s distinctive harmonica, which brings to mind sidewinders crossing dusty widescreen vistas; a generous dose of vocoder; and a plethora of creative U-turns that conspire to create a general overall sense of man and machine melding together in a thrilling chrome-covered hybrid.

    Because Fishing for Fishies is an album looking out across the horizon through mirrored sunglasses while twenty-tonne juggernauts thunder past. Here, perhaps, is a place where the spirit of two key songs released in the same year - Ram Jam’s ‘Black Betty’ and Kraftwerk’s ‘Trans-Europe Express’ – linger somewhere in the mix. And what may sound absurd on paper is actually the genius work of a band of musicians entirely simpatico with one another after nearly a decade of constant evolution.

    “We have travelled a lot – we’ve seen the world - but it all still feels like discovery,” says Stu, in trademark self-effacing style. “We’re still essentially naive kids tinkering around with toys we don’t know how to use in the studio.”
    Newcomers to King Gizzard & The Lizard Wizard will find an entire self-contained universe awaits them in a thrilling body of work. Here are grand concepts where albums overlap, riffs resurface, circular songs chase their own tails, grand narratives are told, cryptic lyrics endlessly analysed and a whole army of fans regurgitate the band’s output via a deluge of remixes, memes, visual loops, mind-melting cut-ups and just generally pontificate wildly about everything in The Gizzverse, much of it available on Youtube and internet forums.

    “I am aware that it exists,” laughs Stu, of the alternative world that exists in their honour. “But I’m completely social media-less and pretty stone-age really. Good on ‘em for digging deep though.”
    Because King Gizzard are no longer a band, they are a cult, a youth movement, an exploration, a double-drumming trip, a cottage industry centred around their own Flightless Records. Many milestones have been ticked off along the way: a headline slot at the UK’s Green Man Festival; a huge sold-out US tour; playing to five thousand people at a sold-out Brixton Academy one day…and then 100 people in the Yorkshire hill town of Hebden Bridge the next. Meanwhile their Gizzfest gathering in Melbourne is now in its fourth year. They are a band to give your life to. Perhaps more than anything they provide transportive fun, a valuable and often-overlooked commodity in an increasingly fraught world.

    Best of all, anyone can step into The Gizzverse - anytime, anywhere. No prior understanding is necessary. So whether it’s psyche rock played with breakneck precision (2014’s I’m In Your Mind Fuzz), life-giving acoustic folk and Tropicalia (2015’s Paper Mâché Dream Balloon), a three-part sci-fi/prog album (2017’s Murder Of The Universe) or an album uploaded on an open license so that budding labels worldwide could press their own copies, which they duly did, currently 240 different pressings according to Discogs (2017’s, Polygondwanaland), King Gizzard & the Lizard Wizard provide it. As Pitchfork noted, they have waged war against two tired clichés: “One, that rock is dead; and two, that the album is dead.” More than that, they have staked their claim as one of the most innovative, exciting and productive bands of the 21st century


    STAFF COMMENTS

    Barry says: It's been close to 24 minutes since the last King Giz outing, so we're obviously due another one. this time we get bigger stadium-rock choruses and deep south Americana vibes mixed in with their usual stoned thrash and soaring progressions. As vital as always. Snap it up quickly, or by the time you read this, there may be another.

    King Gizzard & The Lizard Wizard

    Oddments

      Oddments is KG&TLW’s fourth studio album released in 2014. It features a collection of “odd” songs recorded between 2007-2014 and was originally limited to 500 copies. The 2018 reissue features a re-designed gatefold of original artwork by Jason Galea, and comes on grimace purple coloured vinyl.

      King Gizzard & The Lizard Wizard

      Willoughby’s Beach EP

        Willoughby’s Beach EP is King Gizzard & The Lizard Wizard’s first EP, originally self-released in 2011 and limited to 350 hand numbered copies. The reissue features new artwork re-imagined by Ican Harem and comes on red(ish) coloured vinyl.

        King Gizzard & The Lizard Wizard

        Eyes Like The Sky

          ‘Eyes Like The Sky’ is the band’s second full-length album released in 2013 and originally limited to 500 copies. A cult Western audio book, the album tells a story of the American Frontier. The reissue features new artwork re-imagined by Jason Galea and comes on Halloween orange coloured vinyl.

          King Gizzard & The Lizard Wizard

          12 Bar Bruise

            12 Bar Bruise is the debut full-length album by KG&TLW originally released in 2012 and limited to 500 hand numbered copies. This reissue includes new artwork reimagined by Jason Galea and comes on doublemint green coloured vinyl.

            Right as the clock was striking midnight on the last day of the year, King Gizzard issued Gumboot Soup, an entirely new 11-song collection. "Greenhouse Heat Death" and "All Is Known" are microtonal jams that roil and boil like the songs on Flying Microtonal Banana, the metallic "The Great Chain of Being" has the proggy feel of Murder of the Universe, and a bunch of mellow tracks ("Superposition," "I'm Sleepin' In," "The Wheel") could have been warped a bit and slotted right into Sketches of Brunswick East. The rest of the songs are strong neo-psych that would have fit well on the grab bag that was Polygondwanaland; the soft rock "Beginner's Luck" would have been a highlight with its marshmallowy chorus and jabbing guitar solo, and the same goes for the almost funky "Down the Sink," which reveals a loose-limbed side the band doesn't often show. So yes, it's a collection of castoffs and almost-weres, but the amazing thing is that it sounds like a greatest-hits collection made up of songs that are fully realized and played with passion and weirdness, not a half-baked slag heap. In case anyone needed it, Gumboot Soup is yet more proof that King Gizzard were firing all year long on all five cylinders, plus about four more that most bands don't have, and the body of work they created is immensely, intensely, jaw-droppingly impressive.

            STAFF COMMENTS

            Barry says: Though I feel like I might be getting RSI from writing about King Giz, amazingly they've managed to smash out yet another killer LP, full of their trademark hooks and off-kilter psychedelic scree. Once again, a completely realised and cohesive collection comes from the KG camp.

            FORMAT INFORMATION

            Coloured LP Info: Limited opaque orange coloured vinyl.

            Coloured LP includes MP3 Download Code.

            King Gizzard And The Lizard Wizard

            Polygondwanaland - Heavenly Edition

              With an insanely prolific year, King Gizzard and the Lizard Wizard return with their twelfth album, Polygondwanaland to journey into the depths of the mind and the limits of the universe. The Australian 7-piece have made a name for themselves with a steady stream of new material since their inception 2010, blending everything surf rock, prog, soul, folk, metal, garage rock, and even elements of spoken word and cinematic presentation, creating a large buzz and rabid fanbase stretching far across the globe from their Melbourne roots. this album is full of the psychedelic rock outfit's jazz and groove laden jams.

              STAFF COMMENTS

              Barry says: For all of you who missed out on the Piccadilly Records exclusive beer splattered vinyl version of this, their TWELFTH LP, then here it is brought to you by the wonderful Heavenly records on CD and standard LP. If you haven't heard it yet, then get on it, or they'll have another one out before you get chance.

              FORMAT INFORMATION

              Ltd LP Info: 180 gram black vinyl.

              Ltd LP includes MP3 Download Code.

              King Gizzard And The Lizard Wizard

              Polygondwanaland - Yellow Splatter Coloured Vinyl

                With an insanely prolific year, King Gizzard and the Lizard Wizard return with their twelfth album, Polygondwanaland to journey into the depths of the mind and the limits of the universe. The Australian 7-piece have made a name for themselves with a steady stream of new material since their inception 2010, blending everything surf rock, prog, soul, folk, metal, garage rock, and even elements of spoken word and cinematic presentation, creating a large buzz and rabid fanbase stretching far across the globe from their Melbourne roots. this album is full of the psychedelic rock outfit's jazz and groove laden jams.

                FORMAT INFORMATION

                Coloured LP Info: Yellow splatter coloured vinyl.

                King Gizzard & The Lizard Wizard With Mild High Club

                Sketches Of Brunswick East

                Just when you think you have King Gizzard & The Lizard Wizard sussed they throw a curveball - in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick East, an entirely altered beast.

                Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I'm In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album.

                Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia.

                Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017. 

                “We were listening to compilations of Ethiopian music form the 1960s and 70s a lot,” explained Stu Mackenzie about the making of the record. “It was in no way thought-out though. If Murder Of The Universe was our most conceptual and arranged album - then Sketches... is the exact opposite.”

                The title could be perceived as both a knowing nod towards Miles Davis’s Sketches Of Spain and the sketchy on-the-hop, improvised nature of its creation by these gnarly and feral Aussie dudes. It also sees the band further exploring the Tropicalia element only ever previously hinted at. Stu explains that a change of pace and tempo was necessary after “a concurrent period of productivity, a ball of energy and ideas”.

                Logistically, its creation saw the sifting through “piles of ideas” previously laid down during intense periods of creation that their frontman confesses he barely remembers having taken place. Truly this is impulsive music, sketches of time and place reworked and pieced together, akin to, says Stu “sampling-culture, in which old ideas are reshaped and suddenly things make sense. It was like we were continually jamming with ourselves.”

                King Gizzard & the Lizard Wizard are: Stu Mackenzie (vocals / guitar/ flute), Ambrose Kenny Smith (harmonica / vocals), Craig Cook (guitar / vocals), Eric Moore (drums), Joey Walker (guitar), Lucas Skinner (bass) & Michael Cavanagh (drums).

                STAFF COMMENTS

                Barry says: Oh Gizz', you may write 1.8 albums p/h but we love you so. This time out it's a tad jazzier but as ever, impeccable.

                King Gizzard And The Lizard Wizard

                Murder Of The Universe

                Lit by thunderclaps and lightning, Murder Of The Universe inhabits a sonic landscape of death, decay, ossification, fossilisation, rebirth. It is a place occupied by wandering shape-shifting beasts, bleeding skies, pools of blood, great fires and mushroom clouds; a planet rent asunder by conflict.

                A disorientating experience, the album hinges on three distinct sections that rise from larval beds, and whose lyrics should be carved in stone, squeezed from moss, discovered in ancient runes. And all the while a passing cast of characters imbue the tale with both human and non-human emotions.

                Snippets of earlier recordings breakthrough collection I’m In Your Mind Fuzz and Nonagon Infinity resurface throughout like ghostly shadow form to haunt their latest sound. In years to come King Gizzard & The Lizard Wizard will be judged not by their separate albums, but by a body of work where themes, melodies, motifs, riffs and ideas resurface and recur, each album peeling back a layer of the onion to glimpse at past and future alike.

                “We’ve always thought of our albums as portals through which you can move from one to the other,” says Stu. “Or maybe each album is a bridge to the next part of the story. Songs sync together, records can be played in loops and past ideas recur or are reprised, and then woven into new textures. These ideas aren’t necessarily contrived though...sometimes these just happen.”

                STAFF COMMENTS

                Barry says: Another brilliant outing from the King Giz fam. Psychedelic swirling guitars, echoing vocal melodies, impeccable percussive freak-outs and as ever, fist-pumping heavy af grooves.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                King Gizzard & The Lizard Wizard

                Flying Microtonal Banana

                Geelong’s insuppressible King Gizzard & The Lizard Wizard release their new album ‘Flying Microtonal Banana’ on Heavenly Recordings - the first of five albums they are set to release in 2017.

                Talking about the making of Flying Microtonal Banana, Eric Moore of the band said: “Earlier this year we started experimenting with a custom microtonal guitar our friend Zak made for Stu. The guitar was modified to play in 24- TET tuning and could only be played with other microtonal instruments. We ended up giving everyone a budget of $200 to buy instruments and turn them microtonal. The record features the modified electric guitars, basses, keyboards and harmonica as well as a Turkish horn called a Zurna.”

                Shimmering, hypnotic and propulsive and powered along, as ever, by the metronomic beat of two drummers, ‘Flying Microtonal Banana’ takes a subtle musical shift away from the frazzled freak-beat of its predecessor, ‘Nonagon Infinity’. Trance like, in parts clipped and concise yet deeply psychedelic, it reveals yet another musical side to a band seemingly in perpetual motion.

                Perhaps one of the most exciting live bands out there right now, they appeared at both Green Man and End Of The Road festivals over the summer as well as playing sold-out London shows at the Electric Ballroom, Moth Club and The Electric during 2016. The band will bring their unrestrained and free-wheeling live show back to the UK in 2017.

                STAFF COMMENTS

                Barry says: K-Gizzle pull out another brilliant and no doubt in-demand album of angular melodies, psychedelic freak-outs and grooving churns of noise, interspersed with funked-up melodies and brilliantly effervescent indie rock. There really is a bit of everything here, classic rock, jazz, psych, noise. You name it, it's here, and executed to perfection.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                King Gizzard And The Lizard Wizard

                Nonagon Infinity

                Recording, releasing and touring a couple of albums in 18 months is beyond the realms of comprehensibility for most bands, but then King Gizzard And The Lizard Wizard aren’t ‘most bands’. Forget a couple of albums, Friday April 29th 2016 marks the release of Nonagon Infinity, their fourth long-player for Heavenly Recordings in a little under a year and a half. Workshy they ain’t!

                After the acid-flecked cosmic jazz of Quarters and the hazy, pastoral, acoustic bliss of Paper Mache Dream Balloon, with Nonagon Infinity the Gizzard once again dive head-long into the gonzo freak-beat frenzy that mark both their Heavenly debut I’m In Your Mind Fuzz, and their perpetually in motion, double-drummer propelled live show.

                Recorded by Wayne Gordon, Paul Maybury, Michael Badger and Stu Mackenzie at Daptone Studios in Brooklyn, in keeping with their indefatigable spirit the 9 track album may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on Nonagon Infinity seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip.

                King Gizzard & The Lizard Wizard

                Paper Mâché Dream Balloon

                Starting out in 2010 as a solid garage rock group, King Gizzard & the Lizard Wizard followed their collective muse wherever it chose to lead them. For their latest opus, Paper Mâché Dream Balloon, they initially thought it was going to be filled with the darker, heavier material that the band has been playing live of late. But front man Stu Mackenzie soon decided that it was time to put aside the longer, more conceptual pieces and go in a completely new direction.

                On previous records King Gizzard has channeled many different sounds: From heavily distorted, kraut-driven rock on their 2014 album I’m In Your Mind Fuzz to expansive, almost jazzy, Dead-like head trips on Quarters! Or as Mackenzie puts it, “I always wanted to be a band where you would expect the unexpected each time, with each album being treated like a different phase.”

                Hence, the band’s seventh album was recorded using nothing but acoustic instruments. Mackenzie elaborated on this with: “Acoustic guitars, flute, double bass, fiddle, harmonica, drum kit, clarinet. Whatever we could find really.” The result is a lovely, lilting pop masterpiece that still evokes the same intoxicating exuberance as KGATLW’s most recent work, but with a more pastoral, communal feel to it.

                "Their songs are dense, intricately crafted, and most importantly, powerful … King Gizzard & the Lizard Wizard don't do predictability.” - Pitchfork”

                “King Gizzard are on a dizzying trip to the center of psychedelia, cocooning themselves in spaced-out guitar lines and engorged melodies that demand to be viewed Disney-style, through a dodecahedral prism of light.” – The Guardian

                FORMAT INFORMATION

                Ltd LP includes MP3 Download Code.

                King Gizzard & The Lizard Wizard

                I'm In Your Mind Fuzz

                Australia’s King Gizzard & The Lizard Wizard announce details of new album ‘I’m In Your Mind Fuzz’ on Heavenly Recordings.

                This Australian beast of a band, with a bear of a name and a thick herd of band members, deliver many things on ‘I’m In Your Mind Fuzz’, namely a skeleton of propulsive Krautbeat fleshed out with a liberal dose of citric sweetness, flutes and harmonicas, a ton of wah, many lovely left turns of delicate psych and a dash of DMT dread.


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