Australian rock can be very surreal, and there’s none more surreal than psychedelic road warriors King Gizzard & the Lizard Wizard‘s vast catalog. They put out albums at a frenetic pace, have a passion for edgy Middle Eastern tonalities and don’t show any sign of slowing down. Their latest release, Chunky Shrapnel – streaming at Bandcamp – is a lavish double live lp recorded at several European festivals last year. It’s the band at their most squalling, three-guitar intense: the swoosh and swirl of many of their studio records gets switched out for a roaring attack and a deliciously Balkan-tinged triptych at the end.
After a murky, ambient soundscape, the band launch into the sarcastic faux-lounge of The Rover. About three minutes in, they take a pause and then shift into high gear for some Os Mutantes tropicalia, a haphazard guitar solo from frontman Stu Mackenzie kicking off a long quasi-funk jam.
The group take their time straightening out the rhythm as they segue into the wryly titled Wah Wah, Ambrose Kenny-Smith’s organ lingering behind the guitars of Joey Walker and Cook Craig, As drummers Michael Cavanagh and Eric Moore pound away, they shift right into the jubilantly galloping, metal-tinged Road Train.
Lucas Harwood’s tricky, loopy bass riffage propels the distantly Middle Eastern-flavored Murder of the Universe, ablaze in oscillating guitar distortion. They hit a hardcore drive with the furious eco-disaster parable Planet B, winding down to a boomy bass loop. A London crowd goes nuts for a silly drum solo; then the Lizards (Wizards?) pick up right where they left off with a pummeling, acidic take of Venusian 2, from a Milan gig.
Hell is pretty much straight-up thrashmetal, with more of a delicious Middle Eastern chromatic tinge: it’s one of the record’s high points. The White Denim-style pseudo-soul of Let Me Mend the Past makes a jarring segue, even with its tastily shrieky guitar break.
The Turkish-flavored Inner Cells, with its tricky tempos, suspenseful keys and icepick bass, is another killer cut. The synth cleverly picks up that same Balkan riff and runs with it in Loyalty, switching out eventually for brooding mellotron. They continue the magnificently dark, dancing interlude with Horology and cap off the record with practically twenty-minute take of A Brief History of Planet Earth, part Grateful Dead, part Doors LA Woman with a little Balkan punk and Jethro Tull mixed in. This is one of the best albums these guys have ever made – and they’ve made a bunch.