The results have been delivered in two installments: K.G., released this past November, and its freshly minted counterpart, L.W. On top of dropping multiple live releases, two concert films, and a slew of Bandcamp keepsakes in recent months, King Gizzard recorded two albums’ worth of new material while in lockdown, with each member of the now-sextet laying down their parts in isolation at their respective home studios. Of course, the nice thing about a band this prolific is that any missteps are swiftly left in the dust and a course correction is all but inevitable, and in King Gizzard’s case, not even a global pandemic can slow their roll. But while there’s a lot of joy to be had in hitching yourself to the Melbourne psych-rockers’ careening locomotive, the group’s recent track record suggests they could benefit from erecting some guard rails, with the honky-glam hoedown of Fishing for Fishies and the doomsday thrash of Infest the Rats’ Nest veering too sharply into the silly and the sullen, respectively. Everything about King Gizzard and the Lizard Wizard is governed by perpetual forward motion, from their music’s relentless momentum to their frequent reinventions to their tendency to release new albums with the regularity of a Substack newsletter.
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