Yesterday (November 7), King Gizzard & The Lizard Wizard took to social media to announce the upcoming 2024 tour, which will see the six-piece perform 58 concerts across South America, Europe and North America, beginning in March and ending in November
King Gizzard and the Lizard Wizard have shared three new singles: “Theia,” “The Silver Cord,” and “Set.” It’s the first preview of their upcoming 25th studio album The Silver Cord, which arrives October 27th.
King Gizzard and the Lizard Wizard are back with a triple-single to announce their monumental 25th album, The Silver Cord. The band also have unveiled a lineup of 3-hour marathon sets beginning next year. The Australian six-piece dropped “Theia / The Silver Cord / Set” in a trippy 12-minute music video showcasing the album’s range from melodic synths to hard-hitting techno with distorted vocals.
King Gizzard and the Lizard Wizard dives headfirst into electronic music like never before on its upcoming 25th album The Silver Cord, the first three songs from which are out this morning (Oct. 3). “Theia,” the title track, and “Set” introduce a synth-dominated sound as far removed as possible from the summer prog/metal companion album PetroDragonic Apocalypse, with nods to techno forefathers such as Kraftwerk and Underworld powering this surprising change of pace.
On a European tour, the Australian group, which approaches many musical styles, went through the festival organized in part at the fort of Saint-Père, near Saint-Malo.
King Gizzard’s PDA listed as one of the best albums of the year!
The key to understanding the King Gizzard phenomenon is a willingness to imagine disparate categories in dense overlap, well beyond anything our post-genre pop era might have prepared us for. The group’s six musicians live at the center of a very unlikely Venn diagram: stylistic chameleons on par with Beck and Damon Albarn, prolific at a rate that outpaces even the famously hyper-productive Guided By Voices, mounting completely unpredictable live shows with the jam band ethos of Phish. Led by 32-year-old primary songwriter Stu Mackenzie, they have released 24 studio albums since 2010, five of which dropped in 2022. (Two of those, the MGMT-ish Omnium Gatherum and the groovy jazz-fusion opus Ice, Death, Planets, Lungs, Mushrooms, and Lava, are good entry points for the uninitiated.) The records tend to be organized around genre and musical high concepts — garage rock, various flavors of psychedelia, electronic excursions, prog, blue-eyed soul and several albums exploring the possibilites of microtonal tuning.
King Gizzard clocked back into somewhat familiar instrumentation with PetroDragonic Apocalypse (for short, because, of course), which marks their 24th studio album. Self-described as “heavy as fuck,” the new record harks back to 2019’s Infest the Rat’s Nest by diving into the metal pools of experimentally hard-hitting riffs and songs about witches and wizards. They teased the album with lead single “Gila Monster.”
Finally — King Gizzard & the Lizard Wizard have made an album about lizards and wizards. With a title impossibly more tongue-twisting than the band’s name, and one which seems to beg for a sepia-toned fantasy map in the vinyl gatefold to fully understand its lore, PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation finds King Gizzard opening the medieval spellbook on their most blackened, ominous album to date.
Thankfully, this bleak turn of events chronicled on King Gizzard and the Lizard Wizard’s new album, PetroDragonic Apocalypse or Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation, is just a fantasy (for now). But as some kind of metaphor for how humanity has ravaged its only home to the point of no return and is actively contributing to its own demise, it feels frighteningly, powerfully real.
“Unlike nearly every musical act on the planet, you don’t see them expecting to hear a favorite song. Chances are, you won’t hear it. Instead, what binds all this, what they ask is faith in an old value: A live performance should be ephemeral, fleeting. King Gizzard & the Lizard Wizard, exciting, dumb, silly, moving, is alive above all else.”
Following their latest foray into thrash metal with 2019’s Infest the Rats’ Nest, King Gizzard & the Lizard Wizard returned with a promise of more “heavy as fuck” tunes coming our way with the lengthily titled PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation, due June 16 via their own KGLW.
The band’s first album of 2023 follows the triple-header of LPs released in October of last year, Ice, Death, Planets, Lungs, Mushrooms and Lava’, ‘Laminated Denim’ and ‘Changes’.
The new album’s full title is ‘PetroDragonic Apocalypse Or Dawn Of Eternal Night: An Annihilation Of Planet Earth And The Beginning Of Merciless Damnation’. No firm release date has yet been revealed, but the album will be up for pre-order from May 16 on Gizzverse.
Earlier this month, King Gizzard and the Lizard Wizard announced a new album called PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation. Now, they’ve shared more details about the project, due out June 16th, and revealed its first single, “Gila Monster.”
King Gizzard & The Lizard Wizard came out of 2022 with five new albums, and the prolific Australian psych-rockers already have another new one on the way. They announced their 24th studio album in an Instagram post: It’s called PetroDragonic Apocalypse; Or, Dawn Of Eternal Night: An Annihilation Of Planet Earth And The Beginning Of Merciless Damnation and pre-orders for the album start on May 16, though they haven’t disclosed a release date just yet.
“When we made Rats’ Nest, it felt experimental,” singer Stu Mackenzie said in a statement. “Like, ‘Here’s this music that some of us grew up on but we’d never had the guts or confidence to really play before, so let’s give it a go and see what happens.’ And when we made that album we were like, ‘Fuck, why did it take us so long to do this?’ It’s just so much fun to play that music, and those songs work so well when we play them live. So we always had it in our minds to make another metal record.”
King Gizzard & The Lizard Wizard will release new album ‘PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation’ on June 16th.
The Australian band are ever-productive, releasing a string of albums throughout 2022. The coming year brings yet more projects, with King Gizzard set to release a grandiosely titled album this summer.
King Gizzard and the Lizard Wizard have announced details of their forthcoming album ‘PetroDragonic Apocalypse’, which is apparently “heavy as fuck”. The album will be out on 16th June via KGLW
“After 14 years, 23 albums, and one pandemic-driven period of “defragmenting the hard drive,” the members of Australian psych-rockers King Gizzard & The Lizard Wizard look back on a banner year and their newfound place in the jamband pantheon”
Today, they present a new video for “Astroturf,” a track off of 2022’s Changes. The album was originally conceived in 2017, and is a concept album that is ” built around this one chord progression – every track is like a variation on a theme,” says Stu Mackenzie. “Astroturf” is one of those creations, a 70s-tinged soft-pop earworm. The accompanying video was filmed in the band’s Australian studio. The band adds: “We filmed this live then overdubbed the fuck over it. Recording is fun.”
“King Gizzard & the Lizard Wizard released five studio albums this year, encouraged fan bootlegging and didn’t rely on TikTok”
“Certainly, this is one of their loosest, most sprawling records, with almost every track exceeding seven minutes; on the other hand, even the most outré odysseys are less a product of improvisation than intricate arrangement. When the Afrobeat-steeped “Ice V” and the dizzying 13-minute showstopper “Hell’s Itch” settle into their fleet-footed grooves and start introducing new ideas every 16 bars, the effect is less like a band showing off their chops and more like rotating MCs chiming in with a few rhymes on a posse cut. And where past Gizzard epics have embraced a racetrack construction, whipping in and out of recurring motifs at regular intervals, the mischievous “Magma” is built more like a spiral staircase, its guitar accents and frisky rhythms swirling skyward en route to the cataclysmic, wah-wah-splattered finale…”
“King Gizzard & the Lizard Wizard, the pretty-much-every-genre rock band from Australia, boarded a tour bus in Montreal at 2 a.m. one night this month and arrived in Brooklyn nine hours later. No gig until the following night, in Queens: a rare day off. “I passed out for an hour at the hotel, grabbed a chicken burrito, and here we are,” Ambrose Kenny-Smith, one of the band’s singers and multi-instrumentalists, said that afternoon. “Here” was a skate park under the Kosciuszko Bridge, on the Brooklyn side of Newtown Creek. “On off days, we try to go for a skate,” he said. “It keeps the mental health in check.””
“King Gizzard & the Lizard Wizard have shared their thoughts on their freshly-dropped album ‘Changes’, saying their 23rd studio effort is “the most complex we’ve ever done”
“The Melbourne band, one of the most formidable live acts in the world, also somehow finds time to release more albums than almost anyone, with an admirable degree of quality control. This month they’ve already released two albums, the Can-inspired cut-and-paste exercise Ice, Death, Planets, Lungs, Mushrooms And Lava (for which they jammed their way into songs in the studio and edited them together afterwards) and the motorik rave-up Laminated Denim (comprising two 15-minute songs, each one written at 120 bpm to mimic the pulse of a ticking clock). Today they’re back with the last album of this October outpouring”
“The band’s North American tour is a breathtaking live comeback for them, even by Gizz standards. In just over a month, they’ll play a headline set at Desert Daze; four marathon three-hour sets, three of them at the picturesque Red Rocks amphitheatre; and a stadium show in New York supported by Black Midi, Leah Senior and Jonathan Toubin”
From humble beginnings as a goofily named, “hey, why not?” college project in Australia to releasing 23 different genre-jumping albums since 2009, King Gizzard has suddenly become one of the most talked-about bands in rock, seized upon by jam band-loving Gen Z stoners, Metallica and Tool devotees jonesing for like-minded heavy riffage, suburban dads still holding a candle for AC/DC and Pink Floyd, and Discogs-loving record nerds perpetually in search of the next great buzz. At a time when many established artists can’t make the economics work to tour at all and many listeners cling to the notion that “rock is dead,” there’s something quite extraordinary about what King Gizzard is doing
“The discography of Australian sonic explorers King Gizzard & The Lizard Wizard is littered with grand conceptual flourishes, ambitious schemes and missions often seemingly impossible. Be they reinventing the electric guitar to explore the outer reaches of Middle Eastern psychedelia, soundtracking climate change nightmares with blood-flecked thrash-metal, finding new possibilities within archaic synthesisers or composing the world’s first ever infinitely looping psych-prog mobius strip, the impossible seems something the Gizzards eat for breakfast”
“The Aussie rock explorationists recently dropped ‘Ice, Death, Planets, Lungs, Mushrooms and Lava,’ and have two more releases planned within a month. What binds them beyond mere prolificacy is King Gizzard’s infectious curiosity and creativity”
“Hate Dancin’” appears on Changes, King Gizzard’s third album of October and sixth album of 2022. The psych band originally began working on the album way back in 2017, but they weren’t satisfied with their recordings until now”
