![]() To make a record that is both a return to various roots and a stylistic expansion is a herculean task, and yet the band accomplishes it on this record. Furthermore, beyond all these varied influences the band adds a dash of hip hop drums and even rapping to their vast sonic recipe.Īll in all Omnium Gatherum is a Frankenstein’s Monster of an album created from the limbs of every Gizz album that has come before. The fuzzy guitar freakouts reminiscent of Im In Your Mind Fuzz, the synth pop sounds of Butterfly 3000, interspersed electric jazz piano and bass in the vein of Sketches of Brunswick East, and the heavy thrash metal sounds of Infest the Rat’s Nest are all present on Omnium Gatherum. Stylistically this album is career spanning and the sounds and styles of many varying Gizz albums can be found somewhere within its tracks. Omnium Gatherum marks the band’s return to the studio since the pandemic and is a veritable tour de force. ![]() Hard as that may have been to believe it was true. ![]() You just need to know which words will open it.When I received the promotional material for this review on Australian genre-leaping powerhouse King Gizzard and the Lizard Wizard’s Omnium Gatherum it was stated that this would be the band’s most substantial work. A WIZARDS LIZARD REVIEW FULLStrip away the adornments of genre and the graphic kookiness and this band will supply a cave full of treasures. Hidden behind the zany Beetlejuice meets Games Workshop model kit that adorns the cover of the album lies a bright yellow K.G. Create lists, bibliographies and reviews: or Search WorldCat. because it just so happens that Fred is a Wizard. Elsewhere, Intrasport’s sultry Moorish electroclash points at a potentially attractive new direction for the antipodean overachievers. Simon Philip Sheena Dempsey - Fred may look ordinary, but sometimes people who look ordinary turn out to be not very ordinary at all. Straws In The Wind positions itself as one of their finest tracks, a maximal acoustic skewering of the old power ballad trope, replete with tongue-in-cheek environmentally themed music video filmed apparently for under a tenner. ![]() Yet as flippant as that may sound, there are still some flashes of innovation. A WIZARDS LIZARD REVIEW TVBilled as the spiritual successor to 2017’s Flying Microtonal Banana, sadly a lot of this new record feels like exactly that, the musical equivalent of the yellowy orange filter Hollywood tends to put on films and TV shows to indicate that it’s the Middle East. ![]() That mischievous evolution prevented them from falling into stereotype. One of the more admirable qualities of the band has been their inclination to always incorporate new genres into their mix, whether it be the progressive jazz fusion noodling that marked their creative highpoint, 2015’s brilliant Quarters, or the trash metal wrath incurred on last year’s rabid Infest The Rat’s Nest. What is this now, album number 16 from King Gizzard And The Lizard Wizard? Released as this explosive bin fire of a year finally pulls down the shutters, it’s been a pretty fallow year for the Melbourne garage rockers, what with them only managing to put out six live albums, a two volume demos collection and now this long player.Īpparently they’re in the grip of what might be classified as their ‘Desert Rock’ period, and its evident that someone in the band has been listening to a bunch of Omar Souleyman, Altin Gün and some of those fantastic Finders Keepers compilations of Turkish psych, and decided they should follow suit. ![]()
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