KING GIZZARD & THE LIZARD WIZARD
Of course not, no way: the seven-headed dragon hadn’t gone anywhere. He was just resting. Hidden away, pausing, catching his breath. After a Guinness-like-World-Record 2017 during which they released five albums (five? Five!), the hyperactive King Gizzard & The Lizard Wizard had an unusually calm 2018. Twelve months with no sign of life. In their universe, one in which a year seems to last longer than it does for the rest of us mortals, this is an eternity. But that’s enough: they need some fuzz.
As if they wanted to make up for lost time quickly, the Australians came back at the end of January with seven fabulous minutes of vocoderized electro-glam on Cyboogie, their comeback single, first release from the album that will come out in April (Fishing for Fishies) the latest piece to add to an almost infinite puzzle (this isn’t hyperbole: they have released over a dozen records since 2012) that goes way beyond revival for revivals sake. Although they have always had a foot in the sixties and seventies, Stu Mackenzie and his psycho-commune have managed to create their own personal sound that can easily be identified in younger bands. It is this role as musical influencers of this decade that has come into its own with Gizzfest, the festival that they have been organising in their native Melbourne since 2015.They do not forget their home when they are travelling around the world, now in hypnotic concentric circles, now in unstoppable motorik toing and froing during long XXL tours like the one that will bring them to Madrid and Barcelona in October. We will now be meeting them again, for the first time since their show at Primavera Sound 2017, with their two drum kits, those acid-spitting synths and those jams that you never want to end. And, knowing them as we already do, the question is not what will be find in Fishing for Fishies but rather how many albums they will have released by then.