9 Songs, 41 Minutes


Ratings and Reviews

4.9 out of 5

38 Ratings

38 Ratings

just listen


let this album be your shepherd into complete madness



King Gizzard has slowly been becoming my favorite band in the recent months and this album sealed the deal.

And I don't mind...It's the end of the world as we know it...


The Hollow Men -- T S Eliot

Mistah Kurtz-he dead
A penny for the Old Guy


We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death's other Kingdom
Remember us-if at all-not as lost
Violent souls, but only
As the hollow men
The stuffed men.


Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer-

Not that final meeting
In the twilight kingdom


This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.

Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.


The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.


Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom

For Thine is
Life is
For Thine is the

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.

About King Gizzard & The Lizard Wizard

Although they formed in 2011 in Melbourne, Australia, King Gizzard & the Lizard Wizard's sense of unfettered sonic exploration makes them easy to mistake for a long-forgotten relic of the psych explosion of the '60s. With a far-out sound that, at times, feels barely held together, King Gizzard evoke the eclectic rock experimentation of Frank Zappa's early work with the Mothers of Invention as they follow their musical flights of fancy wherever they might go, and let the rest just fall into place on its own. In 2012, King Gizzard released 12 Bar Bruise, which they followed up just five months later with 2013's Eyes Like the Sky, which the band somewhat enigmatically described as a "spaghetti western audio book." A third full-length, Float Along, Fill Your Lungs, was released in 2013 and was quickly followed by 2014's Oddments and I'm in Your Mind Fuzz. Still working fast, they released an EP in early 2015. Titled Quarters, it featured four trippy songs that each timed out exactly at 10:10. Later that same year they released yet another album, Paper Mâché Dream Balloon.

After signing to ATO Records, their sound took a detour from expanded jams and fuzzy freakouts to tightly constructed, but still weird, pop songs played exclusively on acoustic instruments. The follow-up album, Nonagon Infinity, was recorded at Daptone Studios and featured some of the band's heaviest, most forceful psych-rock to date. The 2016 release was recorded so that one track bleeds into the next, then jumps back to the beginning after the last song. They tout it as the "world's first infinitely looping album." The band spent time after the album's release touring, and getting five albums ready for release in 2017. On the first of them, Flying Microtonal Banana, King Gizzard decided to investigate microtonal tuning, a non-Western way of tuning that involves intervals smaller than a semitone. They had a custom-made guitar gifted to them, and the bandmembers bought new gear and altered the instruments so they could be microtuned in a way that made them compatible.

The group's second album of 2017, Murder of the Universe, arrived two months later in March. It was broken into three long sections, each one telling a different apocalyptic tale of the human race being taken over by cyborgs and AI, while featuring heavy use of synths and spoken word narration. Just before that album's release, the band finished a collaboration with Mild High Club's Alex Brettin, who traveled from L.A. to King Gizzard's Flightless HQ studios in East Brunswick, Melbourne, Australia, where he and Stu Mackenzie figured out some rough ideas. The duo was then joined by the rest of the band to fill those ideas in. Titled Sketches of Brunswick East, the album was a heady mix of soft rock, psych-pop, and cosmic jazz. It was released by ATO in August of 2017, mere months before their next record was released. The relatively straight-forward (for King Gizzard) psychedelic opus Polygondwanaland was given away for free and the master tapes were offered to anyone who wanted to press the album up and sell it. The band's American label ATO was one of the first to take advantage of this, and several others followed suit.

Fulfilling the group's pledge to put out five albums in 2017, they snuck Gumboot Soup in just under the deadline. The collection of thematically and sonically unconnected songs, a rarity for the group, was issued digitally on December 31, then given a physical release later in 2018. ~ Gregory Heaney




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