Over the course of 2017, the Melbourne, Australia-based psych rock septet and JOVM mainstays King Gizzard and The Lizard Wizard released five albums — with each album being in a completely different genre and style from its predecessor, further cementing the band’s reputation for being restlessly experimental and prolific.
For a band that has been as wildly productive and prolific as the Melbourne-based JOVM mainstays, not releasing new music last year was extremely odd; however, they were busy with other things, including — a relentless tour schedule that featured a headlining set at Desert Daze and three sold out-dates at Brooklyn Steel, the largest venue they’ve played in the States to date. Additionally, the band re-issued their first five albums on vinyl for the first time ever, and it created such a frenzied demand that the Flightless Records website crashed from the traffic.
Now, as you may recall, the band released their 14th album Fishing for Fishies earlier this year, and the album found the band creating a sonic world in which the organic meets the automated; where the rustic meets the robotic; where the past and future collide in the beautiful present with the band crafting material that’s essentially boogie blues that struts, shimmies and stomps through several different moods and terrains. “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”
Interestingly, the acclaimed Aussie JOVM mainstays have written, recorded and released a couple of standalone tracks that simply don’t fit on their most recent album because they’re on a completely different tack — one of those tracks is the thrash metal ripper “Self Immolate” which finds the band piling power chord riff upon riff upon riff, thunderous drumming and McKenzie taking on a growling vocal delivery reminiscent of Slayer’s Tom Araya and Sepultura’s Max Cavalera. Interestingly, the track is a reminder that they’re not dabbling dilettantes when it comes to thrash and thrash metal — and that they can pummel eardrums with the best of them.
Directed by frequent visual collaborator John Angus Stewart, the recently released video for “Self-Immolate” sees the members of the band burnt alive in a Satanic ritual in the middle of nowhere.