King Gizzard and the Lizard Wizard

King Gizzard and The Lizard Wizard has released albums consistently over the past decade, producing everything from echo chamber psych-surf to Spaghetti Western epic narrative, heady jazz fusion, soft rock, brain-melt boogie and beyond.

These rock bands are like Black Dynamite of rock music; they thrive on using novelty tactics to keep themselves and their audiences intrigued.

Frontman Stu Mackenzie

King Gizzard and The Lizard Wizard is known for its wide-ranging musical explorations across genres and dynamic live shows, led by frontman/songwriter Stu Mackenzie who is responsible for its dynamic discography as well as its wide fan base – both features made possible thanks to Stu Mackenzie.

With their latest album Butterfly 3000, King Gizzard and the Lizard Wizard display an evolution from their baroque roots. We spoke to Mackenzie about this album as well as his relationship to music in general and what 2024 will hold in store for this band.

Stu plays a custom-built Hagstrom 12 string strat guitar equipped with JHS SuperBolt V2 pickups. In a recent @phcfilms Instagram story, he can be seen using this guitar along with their Vocal Echo Master pedal in their studio recording sessions and live videos.

Bassist Ambrose-Kenny Smith

King Gizzard and The Lizard Wizard is one of Australia’s most accomplished rock bands, boasting an expansive discography, energetic live shows, and a passionate global fanbase. Receiving international critical acclaim as well as headlining festivals worldwide – they also excel at exploring various genres.

Watson and Kenny-Smith’s partnership is key to making III Times sound much fuller than either artist could manage on their own. Both artists bring unique musical backgrounds and interests that overlap, producing an album which is just as enjoyable to listen to as it was to create.

Jay Watson’s pedalboard features the Radial Hotshot 48v A/B pedal and a custom made Danysha Harriott Pedal Board by Danysha Harriott Pedal Board; additionally it includes a Yamaha TX800 keyboard.

Guitarist Joey Walker

Joey Walker has long been one of the centerpieces of King Gizzard and The Lizard Wizard’s extraordinary performances. Since their formation, he has played alongside them, in Love Migrate as well as being part of Trumpdisco DJ duo.

Over the past decade alone, this group has produced over 20 albums. They’re known for their ambitious projects and unique approach to album making; often taking unorthodox approaches that push boundaries.

Willoughby’s Beach and 12 Bar Bruise were their debut EPs, which blended surf music with garage rock. Later releases such as Quarters!, Paper Mache Dream Balloon and Nonagon Infinity integrated film music, synth-pop, free-form improvisation heavy metal folk. On 2017’s Flying Microtonal Banana they also explored microtonal music utilizing Joey using an EV 635a microphone for vocals and harmonica playing.

Drummer Cook Craig

Cook Craig is responsible for keeping King Gizzard’s beats under control. He and the band‘s members hail from Deniliquin, near Melbourne, and their music combines all their favorite musical influences.

Gizzard released two albums that seemed diametrically opposed in 2023: June’s Psychedelic Microtonal Banana is a straightforward rock album; December’s Change album is an ambitious concept piece begun five years earlier but completed throughout their band‘s evolution.

Live performances live up to their studio recordings in terms of intensity and energy, with tense energy soon leading to an explosive mosh pit in their boxy venue. They begin their set with three-guitar intensity in Chunky Shrapnel before shifting gears towards more measured boogie territory via Big Fig Wasp.

Keyboardist Michael Cavanaugh

Since its formation in 2009 – when many of its members hadn’t reached legal drinking age yet – this group has released 20 esoteric studio albums. From Oh Sees-influenced garage rock and psychedelic folk to groove metal and microtonal tunings; microtonal tunings; stoner jazz-rock; all kinds of experimental arrangements to an album created as one 41-minute loop, all these genres and more have been explored on these discs.

Cavanaugh hails from Ohio but has made New York his primary venue of employment. When not performing there, however, he can often be found back home performing gigs at Baby’s All Right or other local venues near Cleveland.

Gizzard collaborators should leave behind any sense of right and wrong; we don’t believe in fearing to phase stereo masters or print on VHS tape if that fits with their aesthetic.