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Alternative & Indie - To be released November 19, 2021 | Flightless Records

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Alternative & Indie - Released October 7, 2021 | Flightless Records

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Alternative & Indie - Released June 25, 2021 | Flightless Records

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Something interesting happened to Australian band the Murlocs as they neared the end of their first decade together. Thanks to the double-gut punch of tragedy and reality, they grew up a little, and the result of this maturity can be heard on 2021's Bittersweet Demons. Until this record, the band -- fronted by King Gizzard's Ambrose Kenny-Smith and made up of members of ORB, Crepes, and Beans -- were content to bash out rambling garage rock tunes punctuated by Smith's harmonica and loads of youthful enthusiasm. This album is more introspective and restrained, with many songs that amble along at a leisurely country-rock pace. For the first time, Kenny-Smith and the band wrote most of the songs on piano and there is a stately singer/songwriter feel to much of it. The title track has a gentle lilt and tender sentiments that revolve around the death of a close friend, "Eating at You" has a shaggy, Band-like feel as the keys, slide guitar, and harmonica deliver a down under take on Americana, and "Skewhiff" rolls along with a wobbly, Dylan-esque feel. Kenny-Smith sounds at home singing these kinds of introspective ballads and the band has the light touch required to put them over with some gentle emotional punch. Paired with these quieter moments -- and songs like the swaying "Skyrocket" that dial the speed down a notch but not quite to ballad level -- the rockers that make up the rest of the album really pop. "Francesca" bursts out of the gate like a horse with no rider, "Illuminate the Shade" melds washes of organ with biting guitars and a yelped Kenny-Smith vocal, and "Blue Eyed Runner" struts like mid-period Stones, only without any manly swagger. The blend of thoughtful ballads, melancholy midtempo janglers, and nimble uptempo tracks is something different for the band, but they definitely prove up to the challenge. Bittersweet Demons feels like the group's first album that isn't just a lark made during downtime stolen from other bands. Now the Murlocs come across like a real band looking to make something meaningful, both to them and to the listener, and in that regard, the album is a total success. © Tim Sendra /TiVo
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Alternative & Indie - Released June 2, 2021 | Flightless Records

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Alternative & Indie - Released May 17, 2021 | Flightless Records

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Alternative & Indie - Released April 23, 2021 | Flightless Records

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Alternative & Indie - Released April 19, 2021 | Flightless Records

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Rock - Released March 26, 2021 | Flightless Records

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Rock - Released March 10, 2021 | Flightless Records

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Alternative & Indie - Released February 26, 2021 | Flightless Records

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While in lockdown, the dudes in King Gizzard spent their time recording songs. No shock there since that's just about all they seem to do given the prodigious output. In fact, they made enough for two albums. Delving back into their experiments with microtonal tunings and covering some of the new ground they've explored since the release of their first excursion, 2017's Flying Microtonal Banana, K.G. was released in late 2020. While it was reliably Gizzard-y, the record didn't break much new ground and came uncomfortably close to sounding like a retread. That fact didn't bode well for the second installment culled from those lockdown sessions, but 2021's L.W. somehow succeeds in ways that K.G. didn't. Maybe it's simply that the band might have saved the better songs for this record. Almost everything here sounds like they are firing on all cylinders; whether it's the rambling road-trip rock of "East West Link," the funky clavinet jam "If Not Now, Then When?," boogie rock-adjacent "Ataraxia," or 100 mph psychedelic blowout "See Me," the band come across with more vigor and verve than they did on K.G. Even when they slow things down, like on the evil-sounding swamp rocker "O.N.E." or the medieval metal ballad "Pleura," they sound tightly wound and fierce, instead of borderline lethargic. Even the songs that sound a little more familiar than maybe they should -- "Static Electricity," for one -- have enough sparking energy to carry them across the finish line in fine style. Add in the thundering, slow-motion metal blowout that ends the album ("K.G.L.W."), and the result is one of the band's best, most engaging records. It's not just a follow-up to their first mildly disappointing venture, it's a bracing reminder of just how thrilling King Gizzard can be at their peak. © Tim Sendra /TiVo
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Alternative & Indie - Released November 20, 2020 | Flightless Records

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Going longer than a year without releasing anything is rare for Stu Mackenzie’s hyper-productive band. The young Australians have brought out fifteen albums in ten years, including five releases in 2017. We’ve grown used to their frantic pace. There was of course the amazing live compilation album Chunky Shrapnel released in early 2020 which brought their on-stage energy to our headphones. Their philosophy stays the same on K.G. They explore apocalyptic themes and ecological concerns over a sci-fi backdrop, sprinkling it with a few punchlines about the pandemic and its media coverage. The septet got to work before March’s lockdown, each of them at their respective homes. They sent each other their music and managed to find a way to work together at a time when they couldn’t embark on their usual improvisations. Despite all this, K.G. is just as mad as their previous albums. Because KGLW excel at everything, always. They’re able to play together and link up with surprising ease and coherence. They write their own legend. The motorik beat and robotic voices used on Automation and Some of Us are totally in line with the sound used on Rattlesnake from their album Flying Microtonal Banana. Straws In The Wind with Ambrose Kenny-Smith slows things down to reveal a wise folk-rock sound, while the heavy distortions on Hungry Wolf Of make for a dark album-closer. The biggest surprise is their use of nu disco and Anatolian rock (Intrasport) echoing Altin Gün as well as the recurring Middle Eastern strings (Ontology, Honey) that gives their psychedelic mixture a new twist. Better recorded than their previous albums, the depth found on K.G. develops the King Lizard narrative: one that’s beautifully mysterious and utterly unique. © Charlotte Saintoin/Qobuz
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Alternative & Indie - Released November 20, 2020 | Flightless Records

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Though the majority of King Gizzard & the Lizard Wizard's albums have plenty of unhinged energy, their live shows are where the band really cut loose and deliver a high-watt dose of rock & roll. Recorded on a sweaty night on San Francisco, this set finds the band in fine form as they ramble menacingly and trip gleefully through their back catalog. The first half of the show sees the group ripping through a series of songs from Nonagon Infinity, then some earlier tracks like the hypnotic "Trap Door" and the boogie rocker "Cellophane." Once they are loosened up, they delve into the ten-minute jazz workout "The River" and a mammoth rendition of "Head On/Pill" that shows off the combo's unerring grasp of dynamics. The sound quality is good throughout with only minimal intrusions from the audience as they revel along with King Gizzard. Their shouts prove that it was a good night for both the band and the crowd. If that's the kind of thing that one finds distracting while listening at home, maybe skip this and stick to the group's studio recordings. Otherwise, this is a fine document of a great live band doing what they do best. © Tim Sendra /TiVo
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Rock - Released November 6, 2020 | Flightless Records

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Alternative & Indie - Released October 30, 2020 | Flightless Records

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Alternative & Indie - Released September 11, 2020 | Flightless Records

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Alternative & Indie - Released June 26, 2020 | Flightless Records

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Alternative & Indie - Released June 16, 2020 | Flightless Records

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Alternative & Indie - Released June 12, 2020 | Flightless Records

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Alternative & Indie - Released May 29, 2020 | Flightless Records

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Alternative & Indie - Released May 20, 2020 | Flightless Records

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