Review: King Gizzard and the Lizard Wizard – Infest the Rats’ Nest

I once read a comment on a YouTube video of “Planet B,” a track from King Gizzard and the Lizard Wizard‘s newest album, Infest the Rats’ Nest, that said the following:

“Interviewer: What genre do you play? / King Gizzard: Yes.”

That comment refers to how the Australian psych-rockers went from releasing a blues boogie / synthwave record, Fishing for Fishies, earlier this year to Infest the Rats’ Nest – one of the best thrash metal albums of the year. They’ll play whatever they feel like playing.

The album is a companion piece of sorts to Fishing for Fishies in its environmental message. The first half of Infest the Rats’ Nest is all warnings about how we’re trashing the Earth and the second half is a story of people trying to flee our dying planet but being stonewalled by rich elitists.

“Planet B” gets the album off to a crunchy, angry start with fierce double drumming and dire warning vocals like “Paralyzation, scarification, population exodus…There is no planet B! Open your eyes and see!” “Mars for the Rich” has a cool groove to it (wicked bass licks, Grateful Dead-like drumming), showing that KGATLW didn’t want to completely abandon their psychedelic roots. Lead singer Stuart Mackenzie sings the tale of a child seeing images of Mars on television and wishing he could go there to escape the poisoned Earth, but knowing only the rich will escape environmental doom.

“Organ Farmer” is bonkers. You can barely keep up with the energy of it. It’s all runaway train guitars and drums that sound like they’re about to collapse. “Superbug” switches to stoner metal jams reminiscent of Sleep while Mackenzie sings about a super virus sweeping across the planet.

“Venusian I” has epic shredding behind a tale of trying to flee to Venus because the Earth is doomed. “Space is the place for the new human race,” Mackenzie sings at the beginning of “Perihelion” – a space rock with crushing drums. He and the rest of KGATLW want to escape the Earth, but will their efforts to reach Venus be successful? “Venusian 2” hits you like a spaceship trying to survive re-entry burn as it blazes across the Venusian sky, so it’s difficult to say if the trip is a safe one.

The mosh-inducing “Self-Immolate” is as fiery as its name would imply. The whole band sizzles across it while the lyrics tell a tale of blazing heat on Venus and the agony of leaving one dying planet for another that’s a perpetual inferno. The album ends, fittingly, with “Hell.” Mackenzie, now dead, is terrified as “Satan points me to the rats’ nest.” and everything, like Earth and Venus, is burning all around him.

Heavy stuff, but it’s a bit tongue-in-cheek, so don’t worry. KGATLW made Infest the Rats’ Nest to not only warn us of the effects of climate change, but also to salute their appreciation of thrash metal and have some fun playing stuff that they have admitted is hard to play. As a result, they put out a thrash metal record that can hold its own with heavyweights in the genre.

Keep your mind open.

[You should probably subscribe before you head off to Venus.]

Review: Holy Serpent – Endless

Despite the hot (literal and figurative) cover image of two naked women standing in a dried out lake and staring at fiery horizon, Endless, the third album from Australia’s Holy Serpent (Dave Bartlett – bass, Nick Donoughue – guitar, Lance Leembruggen – drums, Scott Penberthy – guitar / vocals) is heavy on ocean imagery. Stories of coasts, waves, sea trenches, undertow, and frightening denizens of the deep are all over the doom metal album. It almost threatens to drown you.

Penberthy has said that the album’s title refers to the endless nature of the ocean and the story of two lovers standing on opposite sides of an ocean as they long for each other is weaved through the lyrics. The opening track, “Lord Deceptor,” is heavy fuzz with giant tortoise-level sludge prowling along its edges while Penberthy sings about ocean graves. “Into the Fire” is perhaps the story of the two women on the cover or the tale of sailing straight into a blazing sunset at sea (“Where the ocean meets the sky, I’ll be waiting…”). It’s a blistering track either way with Bartlett’s bass growling like a wild animal and Leembruggen’s drums smashing like an icebreaker.

The guitars on “Daughter of Light” push against the reverb-laden vocals while Leembruggen’s cymbals crash like waves against sharp rocks. I once described “For No One” as a tidal wave you see coming but can’t avoid. It’s a monster bearing down on you and there’s nothing to do but let it wash over you. Penberthy’s vocals sound like he’s tumbling inside the wave while Donoughue, Leembruggen, and Barlett sould like a shark racing up to meet him. The title of the final track “Marijuana Trench” is a play on “Mariana Trench” – the deepest place on Earth. It starts with acoustic guitar chords and sea shell-echo lyrics before space rock guitars zoom in and flatten you.

Endless is practically a soundtrack for a modern Conan movie if someone finally decided to shoot a movie about the famous Cimmerian’s adventures at sea. Someone should get on that, and you should hear this record.

Keep your mind open.

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