KING GIZZARD & THE LIZARD WIZARD
PHANTOM ISLAND
This is the 27th Album for this Australian Psychedelic Rock Band, meant as a companion to their 26th release, Flight b741, but done with an orchestral flair.
Artist: King Gizzard & The Lizard Wizard
Release date: June 13th, 2025
Genre: Rock, Funk
Length: 47 Minutes, 10 Tracks
While I yearn for the days that we might ever get a follow-up to my favorite Indie Album of 2023, PetroDragonic, an exploration of metal to the core, I know this journey they are currently on is more suited for this group, and few do it better. Sonically, orchestrated, tempoed, and lyrically, the amount of care and the amount of being honorable to a genre most of the band members weren't born in or before in, and yet still find a way to be unique and bombastic, like a metal or indie rock band can be, is why this band is one of the best at reinventing and entertaining their is out there right now.
Phantom Island is no exception to the rule of disorder for King Gizzard. It is bold, refreshing, and while there may be a grand debate about how much this sounds a lot like an enhanced version of Flight b741 (their 26th album), I think that's actually the point they are trying to make here. I also feel like where Flight gets a little same-same, Phantom takes the lessons learned and begins to form a whole new level for this iteration. I think there is no taming here that isn't on point, or that begins a journey that I think a lot of music fans will relate to when they take this album for a spin. I do think while the 2 albums are meant to complement one another, there will be a line drawn amongst the fan base for one over the other, and that's a shame because both have their merits. I just think this Island is a bit more daring.
1. PHANTOM ISLAND - Why not have the title track lead the way, and lead it does, with what is the most amazing Jethro Tull-esque piano arrangement with horns and winds that lead right into the funky riff accompanying this amazing curtain jerk. There is a subtlety that is so nuanced and so phonically appealing here that you slip into the music so effortlessly. Yet you feel its boldness because it feels like a 20-piece orchestra about to put on one hell of a jazzy, funky listening experience, only to be as subdued and restrained as the instruments will allow. That's just the 1st minute of the song! Then it glides into its psychedelic 70s-esque rhythm that pounces on you like a flurry of cotton balls of notes and lyrical wonderment. "I just woke up from a dream. I was in a place I'd never been and seen." Indeed, that is so apropos of what we are experiencing here.
Phantom Island is no exception to the rule of disorder for King Gizzard. It is bold, refreshing, and while there may be a grand debate about how much this sounds a lot like an enhanced version of Flight b741 (their 26th album), I think that's actually the point they are trying to make here. I also feel like where Flight gets a little same-same, Phantom takes the lessons learned and begins to form a whole new level for this iteration. I think there is no taming here that isn't on point, or that begins a journey that I think a lot of music fans will relate to when they take this album for a spin. I do think while the 2 albums are meant to complement one another, there will be a line drawn amongst the fan base for one over the other, and that's a shame because both have their merits. I just think this Island is a bit more daring.
1. PHANTOM ISLAND - Why not have the title track lead the way, and lead it does, with what is the most amazing Jethro Tull-esque piano arrangement with horns and winds that lead right into the funky riff accompanying this amazing curtain jerk. There is a subtlety that is so nuanced and so phonically appealing here that you slip into the music so effortlessly. Yet you feel its boldness because it feels like a 20-piece orchestra about to put on one hell of a jazzy, funky listening experience, only to be as subdued and restrained as the instruments will allow. That's just the 1st minute of the song! Then it glides into its psychedelic 70s-esque rhythm that pounces on you like a flurry of cotton balls of notes and lyrical wonderment. "I just woke up from a dream. I was in a place I'd never been and seen." Indeed, that is so apropos of what we are experiencing here.
2. DEADSTICK - This ups the ante with a nice drum and horn intro that blasts like coordinated disco lights and bell-bottoms prancing into the middle of the dance floor, ready to sway hips and clap to the beat, and spin in unison. Joey Walker rips a mad Hendrix-like solo, rich with distortion and fierce chord progression, about halfway through the song that leads to some weird acting/singing from a Norman Bates-like mother's vocal perspective that somehow works with this particular song and orchestral arrangement. It's the thing I love most about KGTLW; they are exceptional musicians, but that does not preclude them from sounding like they are having a great time doing it. The vocal shifts are them not taking it so seriously and that's why it works. Deadstick is not a profound lyrical masterpiece, but it is the inclusion of Flight b741's merit as a companion, and that type of easter eggging is not always done with even concept albums.
3. LONELY COSMOS - Again, a different type of opening, same ritual though, this ethereal organ arrangement of this kind of fading into the actual song. This one is a tad longer in opening, but it blends nicely into a ballad with some acoustic strumming sprinkled in the background. This is the first layered song on this album, and those who follow this band know how well-known they are for utilizing this style. This song has a very Beatles-esque cadence to it, with this kind of floating aspect. It's a nice departure tone-wise, but as for the theme and staying on genre, this is a very clever way to incorporate this type of song styling into a concept arrangement that is trying to stay on a certain wavelength genre-wise. The percussion here from Michael Cavanaugh is really stellar on this one, a restrained performance that allowed a few subtle nods of fury while still providing a comfortable flotation device.
4. ETERNAL RETURN - The first song to fade right into the rhythm, but it has this trailing off from the previous endeavour, like a sheen of dust to it. This is a more subdued, more modern indie rock track. A bit of what they did more of on Flight b741 and some of the middle albums. More of what King Gizzard has already perfected in their time, putting out music. The chorus of different vocal ranges and background singing here is a special touch that King Gizzard really leans on a lot in Flight's path, and I love it making an appearance here. Again, the way they tempo change throughout this album really keeps you engaged if you decide to go from song to song, from beginning to end. This, on its own, is very poppy, and it just gives off this innocent, nativity that once again feels like fun rather than deep-seated madness, as the lyrics might actually suggest.
5. PANPSYCH - One of my favorites here, the flute work from Lachlan Davidson is so contagiously catchy. I love how this song just goes with the flow too. Another juxtaposition of the lyrics not quite matching the musical framing, and it works so well. Again, the backing vocals drive an amazing layering. The middle bridge is where we get a little Bob Dylan-esque silouquoy which is so fucking brilliant here. Then there's a nice little psychedelic music interlude that provides a great moment in the song as well. The ups and downs of the tempo is perfectly timed and beautifully pressed into a world of loss and regenerating energy that becomes so engaging for the senses and the brainwaves equally. This is a greatest hits contender if I ever heard one.
6. SPACESICK - This is the modern equivalent of Lonely Cosmos. Very KGTLW with its long notes tucked under an arrangement of dancing melodies that rise into a fireworking crescendo. As it spreads out from the explosion, it peels over into the original riff and tone, like it was always there, and that is so KGTLW. Nice little flute notes at the end.
6. SPACESICK - This is the modern equivalent of Lonely Cosmos. Very KGTLW with its long notes tucked under an arrangement of dancing melodies that rise into a fireworking crescendo. As it spreads out from the explosion, it peels over into the original riff and tone, like it was always there, and that is so KGTLW. Nice little flute notes at the end.
7. AERODYNAMIC - The flute note pitty-pats into this next song, but this is where you see the core of the band really put a stranglehold on the next influence. This is a trip into the deep American South tape library and a southern rock master stroke. Where the album drifted into a safer space above in the last couple of tracks, this subtle tempo change and stripping down really gives oomph to the whole album experience. Not to mention, on its own, this song is so catchy and so repeatable. There is such an Allman Brothers meets The Eagles meets Lynyrd Skynyrd all to punch the Grateful Dead in the face styling here. I love the boldness of this, great distorted soul, and it gives us what we need...MORE COWBELL!!!
8. SEA OF DOUBT - The Southern rock keeps coming, the twang rips through this song, but ultimately the tempo slows down to give it that more 60s-esque southern rock song with a wonderful bridge. At this point if you aren't grooving to what is being put here there is no hope for you. Which ironically lyrically is the whole point of the song.
9. SILENT SPIRIT - There is a nice full-circle-ness wherein you get a lot of the same elements from the opening track. The distortion pedal on the guitar licks here is a nice touch to the groove elements. The layering is again prominent, but this time, instead of using vocals, it is all the instruments getting in a little bit of what they have done throughout this experience. Almost like a chorus of birds talking to one another. This is the best-sung song on the album for Ambrose Kelly Smith. There is a cool Buffalo Springfield-like echo harmony that jumps in about a minute in. I love all the vocal changes here, from the high notes to the lower registers. It mixes well with the style here.
10. GROW WINGS AND FLY - It only took 10 songs for the guitar to be the lead dancer for an intro. This has a great road trip feel to it. Very LA Woman, and yet you could also see some modern rocker influence, the vocal tempo has a Ghost-like feel to it, if it was heavier in tone that is, you could almost hear a bit of Tobias Forge in the music elements, his cadence approach, anyway. Another great guitar bridge here, with one of the best riffs of the entire album. The self-reflective lyrics also provide a nice 3rd act feel to the music. Again, it cascades into another awesome distortion pedal waylay from Sam Joseph. Incredible to end this experience.
All in all, this is going to be an album you will hear me talk about at the end of the year. It for sure has tucked away a Top 10 spot and climbs every time I get a song popping into the rotation or just feel like I need the energy of this band. It wrestles a lot with Propagandhi's effort this year for that top spot. Lots of music still to come, but this is a triumph of a long-gone era revisited through the lens of a band that knows how to produce albums and produce them well. I love their experimental nature that sifts through the comfort of the skin they are in. Brilliant musicianship, awesome tempos, and sonically one of the most pleasant experiences of the year for me.
YOU CAN CHECK IT OUT FOR YOURSELF HERE ON BANDCAMP.
All in all, this is going to be an album you will hear me talk about at the end of the year. It for sure has tucked away a Top 10 spot and climbs every time I get a song popping into the rotation or just feel like I need the energy of this band. It wrestles a lot with Propagandhi's effort this year for that top spot. Lots of music still to come, but this is a triumph of a long-gone era revisited through the lens of a band that knows how to produce albums and produce them well. I love their experimental nature that sifts through the comfort of the skin they are in. Brilliant musicianship, awesome tempos, and sonically one of the most pleasant experiences of the year for me.
YOU CAN CHECK IT OUT FOR YOURSELF HERE ON BANDCAMP.
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