![]() also plays out as an enthusiastic proponent for its coming. While the notion impending doom is depicted as inevitable across the record, L.W. The slanted commentary culminates with its final lines, “Cheat me out of living my life? / I exercise my right to die”–– undeniably anchored in current times. doesn’t so much question the notion of collective responsibility as it asserts it, (“Human race deserves its steaming fate on a plate”) oftentimes blurring the line between Gizzard lore and reality.Ĭase in point, recent single ‘Pleura’ introduces the “Necromancer”, a personification of the collection of nefarious human traits that have led mankind into a cul-de-sac. The new album is even starker in its depiction of the turn world events are taking. The album expands on the idea of the imminent arrival of a phantasmagoric apocalypse that seeps into much of Gizzard’s discography––and most crucially K.G. As such, the narrative arc developed in L.W. ![]() were conceived the latter intended as both a standalone record and a companion piece to the former. Recent output suggests it’s been business as usual for King Gizzard: you wouldn’t guess their last two albums were made in isolation and pieced together from afar. It’s their seventeenth studio album in a decade-long run as well as their eleventh release in a year (including retrospectives and live albums). Prolific Aussie outfit King Gizzard & The Lizard Wizard return with a third and final foray into microtonal tuning after the ingenious Flying Microtonal Banana (2017) and the more recent K.G.
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