Posts Tagged ‘King Gizzard & The Lizard Wizard’

Sketches Of Brunswick East is King Gizzard and the Lizard Wizard 3rd album of five in 2017 and a collaboration with LA’s Mild High Club. Just when you think you have King Gizzard and 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 Eastan 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.

its their 11th studio album, released August 18th, 2017.

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Photo by Frazer Harrison/Getty Images for Coachella

Those prolific Aussie psych-rockers King Gizzard & The Lizard Wizard have shared a new ten-minute track ‘Crumbling Castle‘.

Having already released three albums in this year, the newest track looks set to be appearing on upcoming album which is rumoured to be titled Polygondwanaland. 

At the start of the year the band made a promise to put out five new albums inside the calendar and, after Flying Microtonal Banana, Murder of the Universe, and Sketches of Brunswick East it looks like they’re on track. The new song – all ten minutes of it – is accompanied by a video directed by artist Jason Galea .

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One of King Gizzard And The Lizard Wizard’s most notable successes was the record Nonagon Infinity. Released over a year ago, it was the group’s eighth record, and since its release, the band have somehow managed to find time to release two more records,

With the release of their second album of the year “Murder of the Universe” it seems King Gizzard are already getting nostalgic as they travel back to the heady days of “Nonagon Infinity” for their latest video as they give ‘Invisible Face’ a brand new clip.

A combination of live action segments with the kind of animation which best befits an 80’s children’s TV show, and is therefore fucking incredible, makes this video one of the better ones floating around this week.

Jason Galaea and Joel Melrose are behind the brilliant visuals which also keep the coloured robes which have started to appear around the King Gizzard And The Lizard Wizard camp and also befits another children’s TV show by the name of; Power Rangers. And when you think about it, is there another band you could see fighting and defeating someone named Lord Zedd?.

The clip has all you need snakes, dark landscapes, jet planes falling form the sky, the whole shebang, really. So sit back, get psyched and watch this brilliant video for ‘Invisible Face’.

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A concept album to end all concepts, Murder Of The Universe is the new collection by head-bending psychedelicists King Gizzard & The Lizard Wizard. ‘Murder Of The Universe’ is a face-melting musical assault concerned with the downfall of man, the death of the planet, the murder of the whole universe.

“We’re living in dystopian times that are pretty scary and it’s hard not to reflect that in our music,” says front man Stu Mackenzie. “It’s almost unavoidable. Some scientists predict that the downfall of humanity is just as likely to come at the hands of Artificial Intelligence, as it is war or viruses or climate change. But these are fascinating times too. Human beings are visual creatures – vision is our primary instinct, and this is very much a visual, descriptive, bleak record. While the tone is definitely Apocalyptic, it is not necessarily purely a mirror of the current state of humanity. It’s about new non-linear narratives.”

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. It may take years for its true importance to be appreciated.

The Australian psychedelic rock band make their worldwide television debut on CONAN.

Australian psychedelic-rock squad King Gizzard & The Lizard Wizard are getting ready to murder the universe with their new LP “Murder Of The Universe” the second of an absurd quantity of five albums that they plan on releasing this year. It’s a sprawling, nigh-incomprehensible 21-track concept album about the apocalypse or something, and they’re sharing it in three 13-minute chunks that they’re referring to as “chapters.” The first was “Han Tyumi and The Murder Of The Universe” and now they’ve shared a new chapter called “The Lord Of Lightning Vs Balrog,” which includes “The Lord Of Lightning,” the track that they performed on the Late Night With Conan O’Brien Show, last month. The whole thing comes with a massive video directed — sorry, created  by frequent collaborator Jason Galea and Ben Jones, which finds the band performing in the middle of the woods while some freaky druidic ritual takes place. Experience that below.

The Tale of the Altered Beast
1. A New World
2. Altered Beast I
3. Alter Me I
4. Altered Beast II
5. Alter Me II
6. Altered Beast III
7. Alter Me III
8. Altered Beast IV
9. Life / Death

The Lord of Lightning Vs. Balrog
1. Some Context
2. The Reticent Raconteur
3. The Lord of Lightning
4. The Balrog
5. The Floating Fire
6. The Acrid Corpse

Han-Tyumi and the Murder of the Universe
1. Welcome to an Altered Future
2. Digital Black
3. Han-Tyumi, The Confused Cyborg
4. Soy-Protein Munt Machine
5. Vomit Coffin
6. Murder of the Universe

Watch King Gizzard shred in their US TV debut

Melbourne’s mighty King Gizzard & The Lizard Wizard made their US TV debut last night as musical guests on Conan.

Though they’re currently touring the US behind February’s the release of their album “Flying Microtonal Banana”, the Gizzards treated the viewing audience to ‘Lord of Lightning’, one of the 21 tracks featured on their next release of this year and their 10th album “Murder Of The Universe” .

Conan, who was impressed by the band Middle Kids earlier this year , seemed suitably thrilled by King Gizzard’s seven-man strong shred storm. And you can tell he just relished announcing the band’s name on air.

After crushing Coachella over the weekend, King Gizzard are squeezing in a couple headline shows before heading back to the desert for the second weekend of the Californian festival. They’ll be touring the UK and Europe in June in the lead-up to releasing “Murder Of The Universe” (out 23 June).

King Gizzard & The Lizard Wizard have promised at least four albums this year, and the band seem to be right on target.

They have announced on Facebook their next album will be titled “Murder Of The Universe” and will be out on June 23rd, with pre-orders kicking off this Wednesday. The band presented the track on youtube “Han-Tyumi & The Murder Of The Universe (ATO/Flightless), which they described as a ‘Chapter’ of their next thing. In the great prog and psychedelic traditions, it’s your standard dystopian vision of the future with guitar wigouts, rolls of Deep Purple organ, with occasional outbreaks of spoken word, apparently from the viewpoint of the ‘confused cyborg’ of the title, adding a touch of Hitchhikers’ Guide to it. With me so far? Well done you. It’s The Flaming Lips on different drugs.

The album will mark the band’s tenth album after their ninth Microtonal Banana.  Here’s hoping the guys will round out this financial year with a chart-topper.

 

The Ninth Studio Album from Melbourne, Australia’s KING GIZZARD & THE LIZARD WIZARD. “Flying Microtonal Banana” it is the first of five albums the band intend to release in 2017. Named for Stu Mackenzie‘s recently acquired guitar custom modified for microtonal tuning, the bandleader reportedly paid his bandmates $200 apiece to mod their own instruments to be able to play micro-scales as well. Includes the songs: “Rattlesnake”, “Nuclear Fusion” and “Sleep Drifter”; nine tracks altogether. Released by Flightless Records on limited radioactive yellow vinyl

King Gizzard and the Lizard Wizard are a testament to the liberating power of giving yourself restrictions. Whether making every song on a record the exact same length (2015’s Quarters!), or constructing an entire album to connect into an infinite loop (last years previous release Nonagon Infinity ), this Aussie armada thrive on the symbiotic relationship between governing principles and disorder. The result is psychedelic rock that plays like a pinball game—the action may be confined to an enclosed playing field, but it’s always moving, ping-ponging in unexpected directions and encouraging synapse overload.

The band’s latest—reportedly, the first of five albums they’re planning to pump out this year—is likewise bound to a motif, though this one is as much sonic as structural. Flying Microtonal Banana was the product of Gizzard king Stu Mackenzie acquiring a custom-made guitar modified for microtonal tuning, which allows for intervals smaller than the semitones that govern Western music. And since the new guitar could only be played with similarly tuned instruments, he reportedly paid his bandmates $200 each to also get their gear tricked out with microtonal capabilities. Translation for those who don’t hold a degree in music theory: Australia’s wiggiest band has found a way to hoist its freak flag a few inches higher up the pole.

If the unrelenting Nonagon Infinity turned rock’n’roll into an Iron Man competition, Flying Microtonal Banana is that cool-down grace period your elliptical machine gives you after an hour’s workout. While opener “Rattlesnake” immediately reestablishes the preceding album’s motorik momentum, the pace is tempered—more late-night cruise than rocket to the moon. But even as it maintains a steadier course, the changes in scenery are more dramatic—in between Mackenzie’s chirpy verses about reptilian attacks, the song powers through a fog of stormy synths, staccato guitar pricks, and the brain-scrambling squawks of a Turkish horn-type instrument known as a zurna.  Flying Microtonal Banana’s more relaxed vibe and greater sense of space bring his words into sharper focus. As per psych-rock tradition, Mackenzie deals in surrealist imagery, though in this case, those images aren’t the mere product of a chemically clouded mind. “Melting” combines rhythms from ’70s Nigeria with observations on the present-day Arctic (“Toxic air is/Here to scare us/Fatal fumes from/Melting ferrous”).

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This is the 2nd official Flightless pre-order for King Gizzard & The Lizard Wizard’s 9th studio LP “Flying Microtonal Banana”. The album will be released worldwide on February 24th 2017.
This album is available in the Blue Toxic Mustard edition limited to 2000 worldwide (1000 have already been sold through the Flightless web store, this is the remaining 1000). The record comes in a deluxe reflective gold sleeve, printed on thick 350 GSM reverse board. It contains a download card and toxic blue & mustard colour in colour wax.

Flying Microtonal Banana is King Gizzard’s first-ever experience in microtonal tuning, which features intervals smaller than a semitone and not found in customary Western tuning octaves.
King Gizzard & The Lizard Wizard plan to release five studio albums in 2017.

Image of Brian Jonestown Massacre - Don't Get Lost

“Don’t Get Lost” was recorded & produced at Anton’s new Cobra Studio in Berlin between March 2016 & October 2016. It is the 16th full length release. With band members Ricky Maymi , Dan Allaire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues .New Young Pony Club) on saxophone joins the band on this album , plus vocal performances from Tim Burgess (Charlatans) , Tess Parks and Shaun Rivers .

A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists, on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and unknown Brian Jonestown Massacre . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid .

Image of All Them Witches - Sleeping Through The War

Produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons) and mixed / engineered by UK-bred young-gun Eddie Spear, All Them Witches’ ‘Sleeping Through The War’ is the quartet’s most bold and well-crafted record to date.
The album’s creation marks the first time in the band’s history that a record was written before entering the studio. This process allowed for an alignment of the band’s art, desire and time. Convening in Nashville for only six days after a year of relentlessly touring their New West Records debut ‘Dying Surfer Meets Their Maker’, the band’s spirit coalesced in a rhythm of statement and melody that simply needs to be heard… repeatedly.

With the guidance of Cobb and Spear, ‘Sleeping Through The War’ captures the truest energy of the group, full blast, fun and contemplative. The record was made with volume in mind. ‘Sleeping Through The War’ is meant to be played loud, cranked up and without reservation. Feel it live through your stereo system or listen to it speak in tongues through your headphones.
The sounds are nothing without the songs and the songs are nothing without the lyrics. This record is a result of constant touring, world travel, overstimulated / divided humanity and a learning of awareness and compassion.
“They are the real deal – psychedelic blues-rock warriors who pray at the altar of Black Sabbath, space out like Pink Floyd and shred away their bummers like Blue Cheer.”

Image of Eyelids - 854

Principal songwriters John Moen & Chris Slusarenko (BOSTON SPACESHIPS, DECEMBERISTS, ELLIOTT SMITH, STEPHEN MALKMUS, DAMIEN JURADO) have turned inwards to their loves of New Zealand/Flying Nun guitar buzz, their teenage LA Paisley Underground obsessions, haunts of early Athens and all things beautiful, lopsided and rock. Along with members Jonathan Drews (guitar), Jim Talstra (bass) and Paulie Pulvirenti (drums) they push & pull against each other’s songwriting, in a beautiful tension that just works.

Image of Sun Kil Moon - Common As Light And Love Are Red Valleys Of Blood

“‘Common As Light And Love Are Red Valleys Of Blood’, for the most part, captures events from January to August of this year and how I processed it all while traveling.
“[…] I’m blessed to have met the very talented Justin Broadrick and to have made these beautiful albums with him.
“These two new albums capture more than my reactions to mass murders or the passing of beloved heroes like David Bowie or Muhammad Ali. The Sun Kil Moon and Jesu/Sun Kil Moon albums are also full of love, humor, and my gratitude

Image of 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.

Image of Peter Silberman - Impermanence - Bonus Disc Edition

While Impermanence is Peter Silberman’s first solo album, it could easily be thought of as a continuation of the emotional-spiritual odyssey begun through his work in The Antlers over the past decade. It travels some of the thornier terrain of the trio’s previous albums Hospice, Burst Apart, and Familiars, while carrying the conversation further down the path.
But much of what distinguishes Impermanence from its forebears can be attributed to an unexpected injury, which imposed upon the musician considerable time and space to ponder the finite.
A few years back, Peter Silberman developed a hearing impairment in his left ear that resulted in a temporarily total hearing loss, extraordinarily loud tinnitus, and an excruciating sensitivity to everyday noises. The condition required extensive rest and quiet, and in order to get that, he left his Brooklyn apartment for a more secluded setting in upstate New York.
The six songs have an economy of expression, the spaces between the words as important as the words themselves. Like the infamous Miles Davis quote: “It’s not the notes you play, it’s the notes you don’t play.”

As the writing neared completion, Silberman linked up with his long-time friend and collaborator, Nicholas Principe of Port St. Willow. Over the course of a few winter months, Principe engineered the album in his upstate People Teeth studio, contributing production throughout. Together, they carved out a sacred sonic space, elongating the distance between notes, between chords, utilizing minimal arrangements to allow breathing room.
But the album goes beyond experiments in ambience. It actually traces the stages of healing, as Silberman experienced them.

“The sequence charts a circular course between distress and peace,” he explains. “The final track returns you to the mood of the first by a wormhole through a single breath, split in half across the last and first seconds of the album. It mimics the cyclical nature of facing unexpected obstacles.”
“I hope Impermanence can provide comfort to people grappling with transition, while remaining honest about it. There’s no remedy for the unpredictable, and I want this record to reflect that, to offer an alternative way to think about changing circumstances.”

Image of The Feelies - In Between

New Jersey indie-rock pioneers The Feelies are celebrating their 40th anniversary with the release of “In Between”, their first album of all new material in over 6 years.
Whilst working the post Velvet Underground moves they’re so famous for, In Between brings interesting new ideas into the mix. The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is still at the core of the group’s infectious sound, paired with the driving rhythmic team of drummer Stan Demeski and percussionist Dave Weckerman, with Brenda Sauter’s bass guitar proving a rock solid foundation.

“On the new record we did a lot of it at my house in my home studio with extra equipment, explains Mercer. “It’s the same room where we rehearsed. We’ve been here since we reformed and a little bit prior to taking the hiatus in the 90’s. So it’s a room we’re really familiar with and feel comfortable in. We also did some recording at an engineer’s studio, so it was all done very low key. We refer to it as “off the clock” when you’re not paying an hourly rate, so in that sense it was a lot more relaxed. I don’t think anyone would notice a drastic change in the sound or the vibe of the record. I think it sounds a lot more relaxed and laid back.”

“I think all of our albums reflect a certain degree of reaction to the work that we previously did and In Between is no exception,” continues Bill Million. “We liked the sounds and the feel of the demos for this album and we thought it would be difficult to capture that in a recording studio. So that was our starting point and it evolved in a much more relaxed way that loaned itself to more creative interplay. Time wasn’t a component. If you let it, music can take on a life of its own and we wanted to allow the songs to develop with that idea in mind.”

Formed in Haledon NJ in 1976, The Feelies have now released six albums – including their critically acclaimed and influential debut Crazy Rhythms, as well as playing concerts with The Patti Smith Group, REM, and Bob Dylan as well as touring with Lou Reed.
In 2008, The Feelies re-united after a 17 year hiatus to open for long time admirers Sonic Youth at Battery Park and then resurrected their tradition of playing low key gigs at strategic intervals throughout the year rather than doing lengthy tours. They signed with Bar/None the same year, who re-issued The Good Earth and Crazy Rhythms. Here Before was released in 2011 and marked The Feelies first studio album in nearly two decades.