I would just come to the studio everyday and me and Stu would sit down and he would show me something that he and Cavs jammed on the day before and then he would talk about how it should be arranged. But I think we just all kind of know what we’re good at, what our tools are best used for. All this time at home recording and creating has pushed me into another realm, to feeling like I am a musician. I always just considered myself more of a performer rather than a musician. Being more of a part of the band in a sense, really. The pandemic kicked me into gear to start contributing more in the recording sense and songwriting. It marks King Gizzard’s fourth time playing and second time headlining the boutique festival, which started as an 11-day showcase of mostly local bands at a Desert Hot Springs roadhouse and has evolved into a three-day, mind-altering playground with a very eclectic, high-profile lineup. This Friday, the band will headline the opening night of the 10th Desert Daze at Moreno Beach in Lake Perris alongside Tame Impala and Beach House (a last-minute replacement for Iggy Pop, who had to bow out of the festival due to visa-related issues with his band). They’ve linked their albums too, creating a nebulous realm called the Gizzverse - a place filled with people vultures, rattlesnakes, tetrachromats, trapdoors, gators, fishies, garden goblins and various other strange creatures and out-of-body experiences. They’re known for linking multiple songs in labyrinthine ways (start with “I’m in Your Mind Fuzz,” then graduate to “Murder of the Universe”). These lizard kings have made more good albums over the years than just about anybody and this is one of their very best.An earlier version of this post gave incorrect release dates for two albums.
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The band close with a track they call K.G.L.W., a serious epic where they bring everything full circle in their heaviest attack. Rippling, kanun-like keys take centerstage in See Me, Harwood’s tense hammer-ons fueling the big crescendo. They bring more of a fuzztone garage rock attack to the hypnotic Ataraxia. East West Link makes a good segue: it’s sort of the radio edit, with a buzzing, burning guitar/zurna duel over Cavanagh’s clip-clop beat. Incisive acoustic riffs, echoey electric washes and a little acidic Turkish zurna oboe permeate the mellotron drift of Static Electricity, arguably the album’s best and doomiest track. Supreme Ascendancy has spikier, harplike textures, swirly organ and even an even more bracing microtonal edge. With all the guitars hitting the baglama-like chromatic riffs of Pleura, the intensity grows while the rhythms get trickier. is where all the guitarists, including Cook Craig and Joey Walker join the slinky snakecharmer mix. With its oudlike melismas, track two, O.N.E. Frontman Stu Mackenzie’s guitar and Ambrose Kenny-Smith’s blippy keys mingle in a microtonal Near Eastern mode over the disco-ish strut of bassist Lucas Harwood and drummer Michael Cavanagh. is streaming at Bandcamp and might be even better.įrom the first few crashing notes of the opening number, If Not Now, Then When? it’s clear that this is going to be one of their gorgeously uneasy Turkish-influenced records, a theme and variations: a Turkish rock symphony of sorts. Their epic double live album Chunky Shrapnel ranked high on the Best Albums of 2020 page here their latest, simply titled L.W.
Over the past several years they’ve released more albums than just about anyone other than Satoko Fujii or the Pocket Gods. King Gizzard & the Lizard Wizard might be the most prolific psychedelic band in the world.
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