Posts Tagged ‘King Gizzard & The Lizard Wizard’

King Gizzard & The Lizard Wizard member Cook Craig’s solo project has dominated this week’s ARIA Vinyls chart. 

Craig’s Pipe-eye has taken out the top two spots with the extended version of 2015 debut Cosmic Blip and limited edition version of 2017’s Laugh About Life respectively. Cook Craig’s 2017 follow up to Cosmic Blip, “Laugh About Life“, is an album that explored new territory for him aesthetically, moving away from the reverb drenched approach of previous recordings. More tight and succinct in its delivery, the songs were short, snappy and pop oriented.

Still present were interludes peppered throughout the record, however this time they delved into a whole other sphere entirely, sounding like something from a nostalgic other-worldly toy box, bouncing between the songs like a slow paced game of pong. These ‘Acts’ set the mood for the preceding songs, as the album unfolds into a melodious and symphonic play of sorts. Laugh About Life is a humorous and jovial musical campaign, always heading in one direction, yet disappearing swiftly in its conclusion, like a dream or an elusive memory. 

The Pipe-eye debuts managed to hold Artic Monkeys‘ AM at #3 and Skegss‘ Rehearsal at #4 which debuted at #1 on the Albums chart last week.

The news comes a month after King Gizzard’s 17th studio album, LW, debuted in the chart’s top 40, with the vinyl of that record also expected to drop soon.

No photo description available.

Australian rock band King Gizzard & The Lizard Wizard released a new single entitled, “Pleura”. The latest recording from the workhorse rock band follows previously-shared “O.N.E.” which was released late last month, and  “If Not Now, Then When?” shared back in December. All three recordings will appear on the band’s forthcoming 17th studio album, “L.W.” which is set to arrive on digital formats next Friday, February 27th. 

Similar to the songs heard on the band’s 2020 surprise K.G. album, the melodies heard throughout “Pleura” were evidently influenced by classical music from Eastern cultures. The dynamics heard on “Pleura” also cover a winding range of peaks and valleys throughout its 4:11 minute runtime, resulting in a mesmerizing, almost entrancing listening experience.

According to the band’s album announcement on Thursday, L.W. can be considered a companion piece to the recordings heard on K.G., so fans should be able to hear a sonic connection between the two projects.

The album is available to stream on digital platforms like Spotify, and the band will donate $1 from every download of L.W. on Bandcamp to Greenfleet, an eco-friendly organization that plants native biodiverse forests in the band’s native Australia and New Zealand. “We’re aiming to make 2,000 downloads which is enough to revegetate 1,000m2 at Pearsons Block in Central Victoria, King Gizzard singer/guitarist Stu Mackenzie said in a press statement. “Some of the species endemic to this region include Yellow Box (Eucalyptus melliodora), Varnish Wattle (Acacia verniciflua) and Sweet Bursaria (Bursaria spinosa).”

“For me personally, making a record is always a certain percentage of fun and a small percentage of agonizing over it too,” Mackenzie continued in regards to the process of writing and recording the two companion albums during this ongoing downtime from touring and playing live. “But there’s always a wild alchemy going into it. Like, you don’t really know what you’re doing, you’re just kind of throwing all of your emotional energy into nothing, which becomes…something?”

King Gizzard & The Lizard Wizard are a psychedelic machine gun, having now released 17 albums in just nine years, maintaining a level of production only rivaled by Oh Sees and Robert Pollard. The latest was only officially announced a couple weeks ago and is the third record in their “microtonal” series where they explore the “notes between the notes.” It’s also clearly the second part of the record that started with last year’s K.G. Not that it needs to be spelled out, in this case literally, but the titles together are the band’s initials, the cover art for both are variations on a theme, and both feature microtonal instruments that give everything a sitar kind of vibe.


The microtonal element colours everything, but King Gizzard apply it to a wide variety of styles on L.W. which makes it both high concept but also all over the map. That sound obviously suits itself to standard definition “pysch” and the band are clearly masters of that as heard here on the bongo-fueled “O.N.E.” and big ripper “Pleura.” But the album is more interesting when it applies microtonal instruments to things like the nearly nine-minute prog-metal opus “K.G.L.W.” which closes the album with some serious fireworks and sounds like a certain set-closer once shows can happen again (which is soon in their native Australia). More interesting, though, are songs that take them into new territory. “If Not Now, Then When?” builds like it’s going to be a rager, but then turns into a groovy ’70s style number with funky electric piano and falsetto vocals. Hopefully that’s an area they’ll continue to explore on future albums…which are probably being mastered as we speak.

For their latest recording, King Gizzard also shared its affiliated video which was impressively performed live, filmed, recorded, edited, and uploaded to YouTube all on February 18th.

The Australian psych band’s 17th album in nine years flies between the funky and the ferocious

Released February 26th, 2021

See the source image

Australian rock outfit King Gizzard & The Lizard Wizard are starting the new year with the arrival of another new single,  “O.N.E.”. Released on Thursday, the latest recording from the workhorse rock band follows the track “If Not Now, Then When?” shared back in December.

Opening with some gentle, slightly-mystic notation to start the 3:40 minute song, the music quickly livens up with a Middle Eastern swing and just enough added distortion to match their trademark fuzz-rock sound. The band continues to explore notation and melody arrangements often heard in older parts of the world within their own song writing, and do so without forfeiting the energizing, adrenaline rock production for which they’re known and loved.

The song’s animated music video was directed by Alex McClaren, who added of his efforts in a statement,

The song itself feels as if it’s constantly moving along so I tried to keep the visuals continually moving forward and sliding into different visual styles and landscapes. I felt the mix of stop motion and collage through the use of found imagery and the band would help compliment the track’s lyrics and themes as I interpreted them, of dreams, nightmares, climate change, dystopias, and utopias, as well as referencing events that took place during the making of the video over 2020. All video of the band was shot by Ambrose during the second lockdown restrictions and I had to give notes on shooting and direct remotely which was strange but so was everything during that period.

“O.N.E.” and “If Not Now, Then When?” are both expected to appear on the band’s next studio album, L.W., which would follow the surprise arrival of K.G. back in late November. The Middle Eastern music-inspired album was one of the selected works included in Live For Live Music‘s “Best Psychedelia Albums Of 2020” staff picks. This forthcoming album is reportedly one of three records the band plans to release in 2021.

Amby: Vocals, Percussion, Harmonica, Keyboards
Cavs: Drums, Percussion
Cookie: Guitar, Synthesiser
Joey: Guitar
Stu: Vocals, Guitar, Bass, Electric paino, Wurlitzer, Flute, Marimba, Synthesiser, Sitar
Recorded by Stu Mackenzie and Michael Cavanagh
Mixed by Stu Mackenzie

The prolific Melbourne band played their biggest-ever headline show to date at the 10,000-capacity venue in the capital, with the promise of “a new set, new songs and a whole new visual experience” being made by the psych-rock troupe. This was an anomaly. An Australian psychedelic rock band, blessed with the kind of name a 14-year-old comes up with during a particularly boring double maths lesson, sells out the 10,000-capacity Alexandra Palace with little radio support and no hit records. What’s more, their latest of many albums since 2012 (they released five in 2017 alone) is a ferocious thrash metal concept piece about ecological disaster called Infest the Rat’s Nest. No focus group would come up with the King Gizzard approach to musical success.

The heady, inspired, confusing, and addictive path King Gizzard & The Lizard Wizard set out on almost a decade ago has led to this point. Announcing – and then swiftly selling out – a headline date at Alexandra Palace, the Australian group took on one of North London’s most imposing venues. A historic landmark, thousands of fans descended on the people’s palace for the show, an indication of just how big these psychedelic outlaws actually are. Rampaging through their leviathan-like catalogue, King Gizzard & The Lizard Wizard pulled out all the stops for the biggest night of their lives.


Released December 24th, 2020

Live at Alexandra Palace, London, England, October 5th 2019
Recorded by our sound crew: Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie

Short, punchy, and fun, King Gizzard gives a more matured take on their early surf rock sound. Such a sunny treat on this Christmas Eve. Don’t say King Gizz & The Lizard Wizzard never gave you anything. Just in time for Krimbo, the unstoppably prolific Australian eccentrics have done it again, dropping not one but two new albums on their Bandcamp page.

First and foremost of the two is Teenage Gizzard, a collection of early non-album singles and rarities that date back to 2010 and 2011, even before their debut album. Of course, for those who can’t get enough of KG in performance, there’s also Live in London ’19, the latest in a series of self-explanatory concert recordings they’ve dropped this year. You can check them both out below, or click through if you’d like to buy them. Not that you have to shell out: The band have also started up their own Bootlegger page, allowing anyone to download these discs (and several more) and release them — as long as they share. Here’s how they put it:

“Yo indie labels, bootleggers, fans, weirdos. We’ve got a deal for ya… If anyone wants to release these albums, you’re free to do so. Below you’ll find links to audio master files and cover art. Feel free to get creative with it if you like — it’s yours. Only deal is you’ve gotta send us some of them to sell on — whatever you feel is a fair trade is cool with us. Ideas: double LPs, 7”, remix, reimagined cover art, bizarre-looking wax, live show box sets, tapes. Or keep it simple — that’s totally OK. Anyone keen?!”

I’m sure they’ll have no trouble finding takers. As for me, I’ll be spending some quality time with these albums over the next few days — and into the new year. Although I’ve been a fan of KG&LW for years now, I’ve resolved that 2021 is going to be the year I go deep into the their back catalogue and truly embrace my inner lizard. Or wizard. Or whatever. Anyway, enjoy.


released December 24th, 2020

Tracks 1-8 recorded some time in 2010 in Angelsea, Victoria, Australia
Tracks 9+10 recorded some time in 2011 in Carlton, Victoria, Australia Mixed by Stu Mackenzie

King Gizzard & The Lizard Wizard – ‘Live in San Francisco ‘16’ limited deluxe double golden gate sunburst and bay fog vinyl LP with rainbow foil wide-spine jacket and packaged in a recycled brown paper bag.

King Gizzard recently made multiple announcements including their first studio album of 2020, Along with the announcement was the new single “Automation” The single release saw the band give full access to fans by providing a bunch of film and audio assets to make your own remix and clip.

 King Gizzard & The Lizard Wizard gave fans a preview of their upcoming “Live in San Francisco ’16″ release with a video of “Evil Death Roll”. The live 13-track, double album is set to arrive on November 20th via ATO Records along with a full concert film. Coming in as the band’s second official live release of 2020, behind April’s Chunky Shrapnel, it helps pad the stats on what has been a—comparatively—light year for the Australian-bred psych rockers. This year saw no studio releases from the group that usually puts out multiple a year, with King Gizzard largely exploring their archives with live releases—many of which the band used as fundraising initiatives for various causes.

In this black-and-white clip shot at The Independent, King Gizzard & The Lizard Wizard come in hot straight out of the gate with the song’s pounding rhythm. With Stu Mackenzie jumping around like a madman from the very start, one wonders how they can keep this up for the whole song—let alone an entire concert.

The answer comes with an instrumental breakdown in the middle of the tune, where the band is able to catch its breath and slow things down a bit. Meanwhile, repeated wah wah pedal-infused phrasings coming from somewhere in the trio of guitars featuring Joey Walker and Cook Craig in addition to Mackenzie. The style shifts around during the instrumental portion, as Walker’s harmonic-led lead brings the drums down and eventually to a full stop. As drummer Michael Cavanagh gently revives the rhythm, it abruptly turns into a fever pitch as the band comes back in at full velocity, and before you know it Stu is holding his guitar up to the mic to create hectic feedback. In short, this performance is raw energy for 7:31 minutes straight.

Just under a month after delivering their award-winning 2016 album Nonagon Infinity, King Gizzard & The Lizard Wizard took the stage at San Francisco’s The Independent for a set both wildly frenetic and meticulously executed. In one of their final club gigs before bursting onto the international scene—soon selling out amphitheaters and headlining festivals—the Melbourne septet laid down a breakneck performance that, in the words of SF Weekly, “made every organ ache just right.” Newly unearthed by ATO Records, Live in San Francisco ’16 captures an extraordinary moment in the band’s increasingly storied history, a 13-song spectacular likely to leave every listener awestruck and adrenalized.

Multi-tracked and impeccably mixed, Live in San Francisco ’16 simultaneously channels the massive energy of King Gizzard & The Lizard Wizard’s set while echoing the sweaty intimacy of the 500-capacity venue. Like Nonagon Infinity—the band’s eighth full-length and worldwide breakthrough—Live in San Francisco ’16 kicks off with “Robot Stop,” an immediately transportive track built on blistering riffs and bombastic rhythms. Reaching its majestic climax with a 22-minute rendition of fan favourite “Head On/Pill” (from 2013’s Float Along – Fill Your Lungs), the album rushes forward with a furious intensity as the band tears through the entire set without ever breaking—a feat that induces a sort of joyful delirium in anyone who bears witness.

With nearly half the setlist made up of Nonagon Infinity tracks, Live in San Francisco ’16 unfolds with the same exquisitely controlled chaos King Gizzard & The Lizard Wizard brought to that arguable masterpiece—a nine-song body of work crafted as the world’s first infinitely looping LP (i.e., each track flowing seamlessly into the next, with the album-closing “Road Train” linking straight back into the opener). “2016 was peak tightness for Gizz,” notes frontman Stu Mackenzie. “Around this time we were really into tightly composed sets, and the show was like one long song—everything linked, everything planned. We threw that idea out the window later on, but this live record is a great document of that moment in our collective psyche.”

An unequivocal turning point for King Gizzard & The Lizard Wizard, Nonagon Infinity arrived in April 2016 and drew major critical acclaim, with NPR hailing it as “masterfully bizarro” and Pitchfork stating that the album “yields some of the most outrageous, exhilarating rock ‘n’ roll in recent memory.” Not only a critical success, Nonagon Infinity won Best Hard Rock/Heavy Metal album at the 2016 ARIA Music Awards, while eternally zeitgeisty director Edgar Wright named it among his favourite records of all time. Two years in the making, the album marked a drastic departure from the folk-and-Tropicalia-tinged psych-pop of its 2015 predecessor Paper Mache Dream Balloon, with the band taking a bold creative leap in its structure. “I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn’t just a song, it was part of a loop, part of this whole experience where it feels like it doesn’t end and doesn’t need to end,” Mackenzie explained back in 2016. When replicated live, that effect is doubly mesmerizing, as frenzied and transcendent as a glorious fever dream.

The vinyl product will be available in 2 formats;
1) The deluxe double LP on “Golden Gate Sunburst” & “Bay Fog” coloured vinyl with rainbow foil wide-spine jacket, printed on recycled board. Custom inner-sleeves, printed on recycled board. The product will be packaged in recycled brown paper bag in lieu of plastic shrink wrap
2) The standard double LP on recycled, randomly coloured, eco-wax vinyl with wide-spine jacket and custom inner-sleeves printed on recycled board. The product will be packaged in recycled brown paper bag in lieu of plastic shrink wrap

Live In San Francisco 16′ Double Disc. Glow in the dark embossed sleeve.
Both out everywhere November 20th

King Gizzard & The Lizard Wizard return with new album “K.G.”, their sixteenth since forming in 2010. In the wake of a global pandemic, it’s a collection of songs composed and recorded remotely after the six members of the band retreated to their own homes scattered around Melbourne, Australia. “K.G.” is a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes via defiantly non-western rock scales. Over a ten-year span spent releasing an album every few weeks (or so it seemed) King Gizzard & the Lizard Wizard never repeated themselves, always pushing forward and trying new things whether it was lengthy jazz excursions, gloom-and-doom synth prog, or thundering thrash metal.

That changed some on 2020’s K.G., where the band revisit the approach used on Flying Microtonal Banana, the group’s 2017 album built around the avant-garde sounds of their custom-made guitars and altered instruments. Stuck in their various homes during the global pandemic, the band gravitated toward the unique instruments and built a batch of songs using their non-Western tunings and tones. Unlike that album, though, where that almost felt like a (mostly successful) gimmick, this time the guitars are more fully integrated into the songs. “Automation” and “Some of Us” kick and twist like classic King Gizzard-style psychedelic rockers, the acoustic guitars of “Straws in the Winds” have a snarling bite that matches the evil sneer of the vocals and sentiment of the lyrics, “Oddlife’s” guitar solos are pure prog, and “The Hungry Wolf of Fate” revisits the blown-out metal attack of their most recent studio LP with a nice mix of restraint and explosive power.

Even though much of the record transverses familiar sonic territory, the band still find some room for surprises. The acid house synths percolating behind the wall of guitars on “Minimum Brain Size” are a nice touch; the group work up a sweaty groove on “Ontolgy” and in the process sound something like Talking Heads butting heads with Kid Creole & the Coconuts; and in the album’s only real shocker, they drop some bubbly Madchester grooves on “Intrasport.” The sound is so slinky and giddily elastic, it makes one wonder what a full album of King Gizzard songs made for dancing would be like. Judging from this, and the band’s track record, probably pretty great. Apart from this one song, King Gizzard don’t break much new ground on K.G., and while that in itself might be something of a let down, the result is still quite pleasing. Listening to them tread a little bit of water is still better than listening to the fresh ideas of 99.9 percent of other groups, especially when it’s done with the energy and passion the band exhibit here.

Creating an immersive world in which to transport the listener to another plain, the songs meld into each other through percussive transitions that lead you through their world. Whether it is the stripped back Straws In The Wind, the jutting Ontology, or the pop-infused Intrasport, the band are firing on all cylinders to create a truly special album. Innovation, as ever, is the order of the day and, while the band are relying on the one concept of instrumentation, the variety of rhythms and grooves that they produce is dizzying.

They blend the mellower tracks with those that stomp and growl, songs that implore you to close your eyes and drift on their beauty with those that wrap you in swirling menace. Closing song, The Hungry Wolf Of Fate, distils all that down into one five-minute summary.

Sixteen albums in and King Gizzard & The Lizard Wizard show no sign of slowing their sonic experimentation and, with this album, again show that they have many avenues to choose from.

Southern Australia’s own King Gizzard & The Lizard Wizard released a full-show video of their performance at New Belgium Brewing Company in Asheville, NC this week.

Unlike a typical show video, however, the Melbourne sextet didn’t have an official film crew on hand to capture the moment. Instead, the band pulled cellphone clips from dozens of fans in the crowd and edited them together with official soundboard audio.

The 17-song set began with “Evil Star” before two Infest The Rats’ Nest tracks, “Self-Immolate” and “Venusian 1”, followed by a couple of Murder of the Universe songs, “Alter Me III” and “Altered Beast IV”. After “People-Vultures”, “This Thing”, and “Beginner’s Luck”, King Gizzard brought the show to its midpoint with an upbeat “Rattlesnake”, followed by the trancey and danceable “Cyboogie”.

The fan shot clips, as well as periods of black screen when presumably nobody filmed, continued as the band flowed into “Loyalty”, then “Horology” and “Boogieman Sam”. “Plastic Boogie”, “Mars for the Rich”, and “Hell” then led to the show closers “The Lord of Lightning” and “The Bitter Boogie”. With songs spanning the band’s entire discography, the 90-minute performance kept fans engaged from beginning to end.

In other King Gizzard news, the band also recently shared a collection of demos to their Bandcamp page, entitled Demos Vol. 1 + Vol. 2. The 28-song album contains demos of songs released throughout their 10-year career.

King Gizzard & The Lizard Wizard have released a new single and music video, entitled “Straws In The Wind”. The video finds the Australian cross-genre rockers in the midst of a green screen twister.

This latest single follows recently-released tracks “Some Of Us” and “Honey“. “Straws In The Wind” also comes as the first single King Gizzard has put out since drummer/manager Eric Moore announced his departure from the group late last month.

The video for “Straws In The Wind”, a song that features Ambrose Kenny-Smith on lead vocals, finds the band employing a green screen to its fullest potential. With footage of tornadoes ripping through landscapes, and the band getting hit with actual debris whirling around the room, Amby ponders the philosophical query, “Straws in the wind/Is it all ending?” While the title may bring to mind the Kansas classic “Dust In The Wind”, it’s clear that King Gizzard took little inspiration from the classic rockers.

Amby and Stu collab on the tune and Jase is back on the tools for the video. Damn this was fun to make! We shot trash around the room with a leaf blower and pretended that we were in a trash tornado. What has the world come to…

Watch the new music video for “Straws In The Wind” by King Gizzard & The Lizard Wizard.

Filmed, edited and directed by Jason Galea Additional filming, wardrobe and direction by Ambrose Kenny-Smith Amby: Vocals, Harmonica, Keyboards Cavs: Drums, Percussion Cookie: Guitar, Piano, Keyboards, Sitar Stu: Guitar, Vocals, Bass, Keyboards, Percussion, Flute Recorded by Stu Mackenzie and Michael Cavanagh

Image may contain: 1 person

After releasing the acoustic, micro-tonal infused track “Honey” back in July, Australian psych-rockers King Gizzard & The Lizard Wizard have shared another new song, “Some of Us,” along with an accompanying music video. The song was written by guitarist Cook Craig and features vocals from Stu Mackenzie. The video, like most of King Gizzard’s filmed content, was made by John Angus Stewart, who also directed the band’s recent concert film, “Chunky Shrapnel”.

This Cookie penned, Stu sung song came together early this year as the world was slowly descending into madness, but before it was truly on fire,” wrote the band in an Instagram post about the song. The also hinted at the release of more new music on the horizon: “We’ve made heaps of tunes lately. Currently putting some sparkles on em. Can’t wait to show y’all before we go down in flames. King Gizzard were set to play two of their biggest shows to date this summer, headlining two nights at Red Rocks. Unfortunately, those were postponed due to coronavirus.

Filmed on a Thermal Imaging Camera designed to capture and read heat temperatures. These cameras are currently in use by the military and science community to assist with monitoring of COVID-19.
There is something about seeing heat in its raw form that is deeply disturbing. I think it’s got something to do with seeing the body broken down to it’s most mechanical function. It’s a not so gentle reminder that we are just meat, bone and blood. ”

Amby: Harmonica Cavs: Drums Cookie: Piano, Bass, Percussion, Guitar, Keyboards, Synthesiser, Clarinet, Flute Stu: Vocals, Guitar, Clavinet, Xylophone, Bass Recorded by Cook Craig and Stu Mackenzie