Australian psychedelic rock band King Gizzard & the Lizard Wizard has unveiled their 27th studio album, Phantom Island, continuing their reputation for musical experimentation and genre-blending. The album, which marks another bold chapter in the band’s prolific career, features collaborations with members of the Los Angeles Philharmonic, introducing orchestral elements to their already eclectic sound. As expected from the band, Phantom Island pushes the boundaries of conventional rock music, but its reception has been notably mixed among critics.
The album opens with tracks like “Aerodynamic” and “Spacesick,” which have garnered praise for their innovative fusion of psychedelic rock with orchestral arrangements. These songs exemplify King Gizzard’s signature approach of incorporating an array of styles—from jazz and prog rock to electronic and folk—into their music. The result is a sound that is both bold and experimental, maintaining the band’s long-standing tradition of refusing to be confined by genre.
“Aerodynamic” stands out for its pulsating rhythms and soaring strings, seamlessly blending rock’s frenetic energy with the lush, classical textures of the orchestra. The track’s intricate layers and unusual time signatures reflect King Gizzard’s penchant for crafting music that is complex yet engaging, demanding multiple listens to fully appreciate its subtleties. “Spacesick,” another highlight, takes listeners on a surreal sonic journey, combining atmospheric, spacey effects with sharp, syncopated beats and evocative melodies. It’s a track that exemplifies the band’s ability to create immersive worlds through sound, with the orchestral elements adding an extra dimension to their music.
However, not all critics have been as enthusiastic. Several tracks on Phantom Island have been critiqued for being too overwhelmed by dense instrumentation, at times making the album feel more like a chaotic experiment rather than a cohesive listen. Some critics argue that the orchestral elements, while ambitious, occasionally overpower the band’s more signature sounds, leaving certain songs feeling cluttered. For example, tracks like “Sundown Reverie” and “Nocturnal Vibration” have been described as lacking the clarity that King Gizzard’s earlier works are known for, with swirling layers of sound that can alienate listeners who prefer their usual tightly-knit compositions.
While the band’s willingness to experiment with new sounds is undeniably commendable, the album’s departure from their more accessible, focused works may leave some fans yearning for the immediacy of albums like I’m In Your Mind Fuzz or Nonagon Infinity. The inclusion of orchestral collaborators undoubtedly elevates the album’s ambition, but the result is a divisive one: some listeners are captivated by the album’s boldness, while others feel it loses the characteristic drive and clarity of previous projects.
Despite the mixed reviews, Phantom Island undeniably showcases King Gizzard’s unyielding desire to push musical boundaries. The album marks another step forward in the band’s ever-evolving sound, with ambitious collaborations that continue to set them apart in the modern rock scene. For those willing to embrace its complexity, Phantom Island offers a rewarding, if sometimes challenging, listening experience.
Ultimately, Phantom Island is an album that rewards repeated listens, as the dense instrumentation and complex arrangements gradually reveal their intricacies. While its reception has been mixed, there’s no denying that King Gizzard & the Lizard Wizard continue to carve out a unique place in the music world, never content to rest on their laurels. As the band moves further into uncharted musical territories, it will be fascinating to see where they venture next.