{"id":3764,"date":"2019-05-01T17:44:27","date_gmt":"2019-05-01T22:44:27","guid":{"rendered":"http:\/\/blogs.dickinson.edu\/wdcvfm\/?p=3764"},"modified":"2019-05-01T17:44:27","modified_gmt":"2019-05-01T22:44:27","slug":"king-gizzard-and-the-lizard-wizard-fishing-for-fishies-review","status":"publish","type":"post","link":"https:\/\/blogs.dickinson.edu\/wdcvfm\/2019\/05\/king-gizzard-and-the-lizard-wizard-fishing-for-fishies-review\/","title":{"rendered":"King Gizzard and the Lizard Wizard – Fishing for Fishies | Review"},"content":{"rendered":"
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Album Review- Fishing for Fishies by King Gizzard and the Lizard Wizard<\/p>\n<\/div>\n

by Jackson Rhodes<\/p>\n

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King Gizzard and the Lizard Wizard, an Australian psychedelic rock band formed in 2010 and fronted by Stu Mackenzie, return after a year-long hiatus with a cohesive and sonically radical new album, Fishing for <\/span>Fishies<\/span>.<\/span> <\/p>\n<\/div>\n

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The <\/span>Gizz<\/span> announced at the beginning of 2017 that they would release five studio albums throughout the course of the year; Mackenzie elaborated that \u201c<\/span>We had this random batch of songs. It was not a cohesive record at all. <\/span>So<\/span> we thought we’d split it up, and split again until it became five<\/span>.\u201d<\/span> Flying Microtonal Banana, Murder of the Universe, Sketches of Brunswick East, and <\/span>Polygondwanaland<\/span> were released, concluding on December 31, 2017 with the release of Gumboot Soup. Although an exciting idea which produced gems like Flying Microtonal Banana and <\/span>Polygondwanaland<\/span>, the rate of album releases surpassing even <\/span>Brockhampton<\/span> was bound to birth some half-baked and rushed ideas (looking at you, Sketches of Brunswick East). It\u2019s a credit to the band that quality was retained through the mass of quantity pushed into 2017, validating their hiatus through 2018. With the new release of Fishing for <\/span>Fishies<\/span> after just a year and few months from Gumboot Soup, the lack of <\/span>Gizz<\/span> content versus 2017\u2019s prolific output makes the hiatus feel more like a decade. <\/span> <\/p>\n<\/div>\n

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If there\u2019s one thing in common between Death Grips and King Gizzard and the Lizard Wizard, it\u2019s a hatred <\/span>of <\/span>a stagnant <\/span>instrumental <\/span>palate. Previous works like Nonagon Infinity boast instruments as strange as the Zurna: Fishing for <\/span>Fishies<\/span> laughs at that and uses vocals, electric guitar, acoustic guitar, keyboards, mellotron, piano, synthesizer, organ, bass, flute, drums, vibraphone, drums, percussion, and a harmonica to create a <\/span>catchy, irresistible <\/span>psychedelic blues-rock sound that boogies like nothing has ever boogied before. In a similar kooky charm to Bill Wurtz or <\/span>ho<\/span>kiness<\/span> <\/span>of T. Rex, King Gizzard\u2019s leading harmonica lines and quality drumming throughout <\/span>the record create<\/span> an enrapturing boogie. I mean, this thing\u2019s got boogie. There should be a warning on the album cover that, upon starting the album, your body will be paralyzed into the boogie until the final track fades away. If there\u2019s one thing I can\u2019t emphasize enough, it\u2019s that if you listen to this album, the boogie shall be within you. <\/span> <\/p>\n<\/div>\n

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Fishing for <\/span>Fishies<\/span> is an indication of what the <\/span>Gizz<\/span> can do if they allow themselves the time to do it. <\/span>Songs like \u201cThis Thing\u201d and \u201cAcarine\u201d methodically morph throughout their durations, easing transitions through introductions of varied instruments; <\/span>\u201cThis Thing\u201d <\/span>in particular s<\/span>witches<\/span> <\/span>up the <\/span>beat so much Travis Scott should be punching the air out of jealousy. <\/span>While I\u2019m talking about it, <\/span>\u201cAcarine\u201d <\/span>is an example of the environmental theme throughout the record, <\/span>bring<\/span>ing<\/span> to light the acarine disease that mortally handicaps bees\u2019 ability to fly<\/span> (and makes it psychedelic). “Plastic Boogie\u201d, while instrumentally still an undeniable boogie, spreads the boogie into blunt lyricism, where Stu Mackenzie sings \u201c<\/span>It\u2019s not fantastic\/It\u2019s <\/span>gonna<\/span> come and kill us\/It\u2019s <\/span>gonna<\/span> be massive\/It\u2019s <\/span>gonna<\/span> be brutal\/Death will come from plastic\/Death will come from people\u201d<\/span>.  <\/span> <\/p>\n<\/div>\n

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Is this record a great album throughout? Absolutely not. \u201c<\/span>Cyboogie<\/span>\u201d, despite the boogie still being present, lies too flat in its electronic production, an unnecessary direction for the bluesy record. You could consequently say that \u201c<\/span>Cyboogie<\/span>\u201d, despite its annoying qualities, is a welcome point of variance from eight other songs that sound interchangeable in the <\/span>tracklist<\/span>. However, you <\/span>gotta<\/span> love this thing for what it is. If you need some well-crafted boogie, buddy do I have something to show you.<\/span><\/p>\n<\/div>\n

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