The album’s centerpiece is the fist-pumping, major-key “Interior People,” with words by multi-instrumentalist Joey Walker. Forced to record their parts in isolation, Gizzard’s other members learned on the fly and even contributed lyrics to flesh out the album’s themes of dreams, transformations, states of consciousness and metamorphosis. Inspired by using synth loops to create interstitial music for the 2020 concert film “Chunky Shrapnel,” Mackenzie spent “hours and hours and hours” programming sequences in strange time signatures on a series of Moogs and then jamming live alongside them. Maybe there’s some escapism in that, which is also usually not how I’d approach writing either.” Maybe it was because the world was, and particularly still is, kind of depressing. It felt a lot more challenging to focus on uplifting textures and sounds.
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Gizzard has leaned on darker textures a lot over our career, and that’s something I know how to do. “We haven’t made a lot of music like that, at least not for a long time. “When the first few songs started to come together, they had this positive, joyous feel,” says Mackenzie. But when the COVID-19 pandemic struck and Gizzard’s six members found themselves unable to jam in the same room, their new music began to take on a very different flavor. I think it’s been a really nice, gradual slow build stepping on all of the rungs of the ladder.” Those rungs have included releasing five albums alone in 2017, creating a sanctioned “Bootlegger” program to allow fans to press and release their own distinctive versions of King Gizzard music and winning over dubious hard rock gatekeepers with the vintage thrash metal homage “Infest the Rat’s Nest,” a 2019 concept album warning of impending environmental collapse. “I don’t think we’ve had any specific moment or break or anything.
“America is still my favorite place to tour,” Gizzard frontman Stu Mackenzie tells Variety.
“Before I knew it, here we are selling out two nights at Red Rocks in less than 48 hours, mostly via the band’s own pre-sale.
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tour, which saw the band jump from the 280-capacity Baby’s All Right to opening for Mac DeMarco at a sold-out Terminal 5, “there has never been anything remotely conventional to King Gizzard’s approach to touring,” says Panache Booking’s Michelle Cable, who has booked the band in North America since that first tour and began managing them worldwide in early 2020.
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