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Australian psychedelic rock band that formed in 2010 in Melbourne, Victoria.
Profile:
Sites:
kinggizzardandthelizardwizard.com, au.gizzverse.com, musicbrainz.org, Facebook, Last.fm, setlist.fm, songkick.com, SoundCloud, Wikipedia, instagram.com, Bandcamp, Twitter, genius.com
Members:
Variations:
Marketplace 3,735 For Sale
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Reviews Show All 5 Reviews
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Euphonics
April 4, 2021
Hype usually turns me off. Hoards of suburban white boys nerding out over something to the degree that there are entire message boards, fansites, bootleg merch, and astronomical prices for one-hour-old "collectibles" doesn't typically draw me in. I'm weary of cultish groupthink. When a cult is politically engaged, it can result in highly destructive behavior—when they're artistically engaged, it can result in blindly fawning over work that is uninspired or just plain bad.
That said, King Gizz still holds it down. I have followed them since Mind Fuzz came out, and in that time, they have managed to accumulate a rabid international following while maintaining their creativity and keeping the soul of their music alive. Their aesthetic is unique. Their sound is consistent. Perhaps due to having two drummers, their rhythm section never allows their songs to flail off into infinity. They always maintain a certain momentum, while leaving enough space for excitement and surprises at every turn. They are endlessly creative and almost frustratingly talented, which means that very few critics can legitimately dislike them. And since they're so versatile, they have at least one song (but more likely dozens of songs) for every listener, regardless of tastes.
Their albums dependably push sonic envelopes and exacerbate music-industry norms. The production value has increased significantly over the years, giving way to albums that are evermore sophisticated holistic conceptual designs. They rarely produce a 'batch of songs' but rather feature-length audiological romps through the overactive imaginations of six young men who never seem satisfied with the periods at the end of their sentences.
I'm not sure how long this marathon can last, but we can all consider ourselves fortunate to be alive at a time when we can witness the King Gizzard phenomenon.
[written Spring, 2021; their most recent release being "L.W."]
That said, King Gizz still holds it down. I have followed them since Mind Fuzz came out, and in that time, they have managed to accumulate a rabid international following while maintaining their creativity and keeping the soul of their music alive. Their aesthetic is unique. Their sound is consistent. Perhaps due to having two drummers, their rhythm section never allows their songs to flail off into infinity. They always maintain a certain momentum, while leaving enough space for excitement and surprises at every turn. They are endlessly creative and almost frustratingly talented, which means that very few critics can legitimately dislike them. And since they're so versatile, they have at least one song (but more likely dozens of songs) for every listener, regardless of tastes.
Their albums dependably push sonic envelopes and exacerbate music-industry norms. The production value has increased significantly over the years, giving way to albums that are evermore sophisticated holistic conceptual designs. They rarely produce a 'batch of songs' but rather feature-length audiological romps through the overactive imaginations of six young men who never seem satisfied with the periods at the end of their sentences.
I'm not sure how long this marathon can last, but we can all consider ourselves fortunate to be alive at a time when we can witness the King Gizzard phenomenon.
[written Spring, 2021; their most recent release being "L.W."]
WingKongExchange
April 19, 2021