But it’s not necessarily a linear thing-maybe it’s a flashback or maybe it’s a flash-forward. So it is some kind of ending, and it’s hard to know where the story should go. King Gizzard blaze through a blistering hour and a half set at Webster Hall on March 31, 2017. Being the futuristic world that it is and connected to everything else, the vomit machine actually infects everything in the whole world, or whatever place that they’re in, and sets off a chain reaction that, in short, destroys the universe and the fabric of everything. He decides to plug his consciousness into this machine. Han-Tyumi, being the confused cyborg that he is, is kind of heartbroken and berserk, I guess. Yeah, “Murder of the Universe” ends chapter three, I mean Han-Tyumi creates a machine, which constantly vomits, and tells him that its existence is terrible. Where does the story continue after the universe is murdered, after the whole fabric that we come to understand has ended? Let’s do this kind of ’s challenging us, and it adds some sort of meaning into the worlds of our own personal universes that we all exist within. Sometimes making music your’e like, “Why the fuck am I doing this shit?” It’s amazingly fun and it’s a great lifestyle, but you kind of have to add some sort of meaning, as we all do, into our lives. All the concepts or ideas behind the records have just been jump-off points. I guess the only thing I can say is it’s stimulating…I don’t know what else to say beyond that. How do these processes affect you creatively? How does that play into form and structure of writing? You guys play around and have a lot of fun with form, beyond novelty. It’s kind of cool to exist both within it and outside of it. We all had somewhat cute, sheltered upbringings, and I’m not sure if that plays into it at all, but we’re all pretty fascinated with the modern world. Uh-huh, yeah, and we’re all country boys as well. I was born in 1990 and the other guys were born between ’88 and ’92, so we grew up with the internet and that sort of thing, but it wasn’t until we were older teenagers that it kind of became omnipresent.Īre you grateful that it didn’t become omnipresent during those younger, formative years? To filter all those milestones and wonder years through a box and a screen? Maybe we’re caught up in it, but it’s not deliberate. I don’t think we’re doing it to make some kind of political statement or anything, but we are children of this generation as well. Are you guys a remedy to that, with the universe building and the accelerated pace of output always asking us to slow down and spend time with the work? Listening to a record about apocalypse and technology suggests themes acceleration, that our pace of absorbing and consuming everything is speeding up at a rate we can’t keep up with. The only people I can think of with a similar work ethic to you guys are Neil Young, Ty Segall, and John Dwyer. “Let’s do this kind of ’s challenging us, and it adds some sort of meaning into the worlds of our own personal universes that we all exist within.” It might be a completely long-winded version of the story, but you’ve got me talking. Maybe…this album might be a bit of a puke. King Gizzard released the album with the suggestion that they had a total of five releases planned for this year alone, and yesterday, upon announcing their second release of 2017, Murder of the Universewould be released June 23 on ATO, devotees plundered the track list, divided into three chapters, for clues about what their vision of cataclysmic apocalypse sounds like. The band has thrown their own festival, Gizzfest, back in Melbourne for the last two years, giving a prominent stage to fellow Aussies like paisley groovers Orb and the hallucinogenic sisters of Victoria’s Stonefield, both of whom are currently traveling the States with The Gizz on the Flying Microtonal Banana tour.īanana comes to a climax on “Nuclear Fusion,” when frontman Stu Mackenzie sings that the devil’s in the details and his spirit leaves his body to fly through a world of radiation. Their community has grown exponentially in a remarkably short time. Among them, there’s the Spaghetti Western story unfolding on Eyes Like the Sky, the pummeling garage-psych headfuck of I’m In Your Mind Fuzz, the endless loop connecting the first and final notes of Nonagon Infinity, the AM-pop leaning, largely acoustic Paper Mâché Dream Balloon, and this year’s exercise in Eastern microtones, intervals and notes that Western musical notation doesn’t consider called Flying Microtonal Banana. Over just five years, King Gizzard have released nine albums of adjunct, wholly realized visions for adventurous ears.
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