Album Review: King Gizzard and The Lizard Wizard released K.G. last month
It’s difficult to predict what Australia-based rock band King Gizzard & the Lizard Wizard will do. The six-piece from Melbourne is an ever-evolving force in rock music, releasing alternative rock records, a collaborative jazz-rock LP, and last year, even a thrash metal album. With the November 20 release of their latest album, K.G., the ever-innovative King Gizzard & The Lizard Wizard return to their experimental, alternative, psych rock form.
Ambrose Kenny-Smith (vocals/keyboards/harmonica), Stu Mackenzie (vocals/ guitar/ bass, keyboards/flute), Cook Craig (guitar/bass/vocals), Joey Walker (guitar/bass/keyboards/vocals), Lucas Harwood (bass/keyboards), Michael Cavanagh (drums, percussion), and Joey Walker (guitar/ bass/ keyboards/vocals) form what many refer to as the greatest live rock band on the planet. After listening to their latest studio effort, we’re in no position to disagree with that assessment.
Scheduled for a North American tour in the spring 2020, the Melbourne sextet indefinitely postponed the string of stateside jam sessions when the COVID pandemic hit. While sheltering in place at their respective homes in Melbourne, King Gizzard & The Lizard Wizard chose to make wise use of their time, recording remotely.
The short, instrumental introduction piece, “K.G.L.W,” sets a somber tone for the album, hinting at some of the sounds that appear later in the LP. “Automation” displays their innovative talent at fusing sounds as robo-drone vocals top off rapid, heavy, psychedelic instrumentation. The track is a visceral, guitar-driven contrast to the introduction. Sound nerds should the King Gizzard website to make your own video or remix with raw video files and audio stems to do so.
“Straws In The Wind” is a spare, dark commentary on the ways in which the media influences our actions, feelings and thoughts. “Ontology” conveys a similar theme, further exploring the concept of free thought, increasing the tempo while doing so.
“Intrasport” is a turning point of the record, leading K.G. into a dance-inspired trajectory. It’s stupefying that King Gizzard are able to somehow take this hard turn mid-album, yet the juxtaposition of sounds still weave so well together.
Tones and melodies that are more recognizable throughout King Gizzard’s catalog, are reintroduced with “Honey,” a track reminiscent of experimental late-60’s, Far East-inspired psych-rock progressions. The album concludes with “The Hungry Wolf Of Fate.” The culminating track feels like a zigzag of tempo and tone, from soft and somber to heavy and emotive.
K.G. marks the 16th studio album from Melbourne rock ensemble since 2012, five of which arrived in 2017. That volume of creative output is impressive on its own. Though the group have effectively explored a variety of genres and sounds throughout their discography, the new release is unique in that it feels as though the sextet has honed in sharply on their best attributes and fused them with exotic, experimental instrumentation. It is clear King Gizzard & The Lizard Wizard is as inspired and creative as ever and show no signs of slowing down soon.
