Photo Credit: Jason Galea
One thing for sure is if you are a fan of King Gizzard & the Lizard Wizard, there is an endless supply of content at your fingertips. They are also one of the most hardworking bands to date, releasing five albums last year (one being a double album). King Gizzard released another album this year, making it their 24th album. Another perk of being a King Gizzard fan is each album sounds different from the last. Each album tries out a new genre, constantly keeping fans on their toes. King Gizzard have already toyed with the metal genre before in their 2019 album Infest the Rat’s Nest.
The album kicks off with an eight-minute opener “Motor Spirit,” homing in on thrash metal. An admirable aspect of King Gizzard is the band’s concern for climate crisis. Their politics have been revisited throughout their discography, most notably L.W. and Infest the Rat’s Nest. The opener “Motor Spirit” is no different, the song attacks those who opt for non-renewable resources, with scathing lyrics such as, “End doth near, we cannot hide as the earth doth shake and writhe” and “black buckets everywhere, brimming, spewing millionaires.”
The next song “Supercell” follows a similar scene painting the man-made destruction, “Oil-mad, spinning gaily in the tempest.” “Supercell” also toys with religious undertones, “Demolition, meet your maker” and “Cares not of theology, Good Christians pummelled anon.” “Converge” also continues to depict the destruction of the planet, from the point of view of mother nature. This is evident in lyrics such as, “I am removed, I am a cloud, in peering down, I am endowed.” Both songs, but in particular “Converge” feature aggressive riffs which go into a frenzy.
“Witchcraft” continues the religious theme, declaring religion is not enough to save us. King Gizzard also evokes cult-like imagery, featuring lyrics like, “I’ve laid the altar, change the crystals.” Another fun aspect of the song is the iconic ‘Woo’s’ that are sprinkled all throughout King Gizzard’s discography. Effortlessly it bleeds into the next track “Gila Monster” which really emphasizes climate destruction and its effects. In particular, the drums stand out here, completely alleviating the song. A common criticism of King Gizzard is the slightly formulaic structure of their songs, with the chorus often repeating the song title. Whilst this song follows a similar structure, the chorus works as a chant which adds to the effect of the overall album.
The penultimate track “Dragon” shifts from various genres to metal all in a single song. Nearly over nine minutes long, the song dabbles in thrash, speed, and sludge metal pairing it nicely with heavy guitar and drums. Stuart Mackenzie, the frontman of King Gizzard vocals stands out, varying from vocal growls and gurgles, showing off his range. The song itself evokes a similar feeling to what one feels watching the climate crisis. The horror we feel when we trudge past the point of no return. The opening of Pandora’s box, trying to shove it back in. The dragon is destroying the earth, wild and untamed, causing havoc. In the chorus, the humans cry, “Stop the dragon, dragon, dragon” as if they have had no prior warning of the destruction.
The last track, revels in the complete destruction of humanity. It’s a startling conclusion to the album, managing to include references from previous songs on the album. The song takes a vantage point from the dragon, singing, “I spew moto spirit breath” and “those who stand before cover in fright.” It’s an aggressive end to the album but that’s the point: the end to the climate crisis will not be pleasant. When the record goes quiet four minutes in, the drums are a highlight, barrelling the song towards its conclusion.
PetroDragonic Apocalypse; or Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation is another exciting installment from King Gizzard and the Lizard Wizard. One of the standouts of the album aside from its immersive storytelling is Michael Cavanagh on drums, giving truly one of his best performances. This is one of the band’s best albums to date, truly offering the listener something unique.
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