King Gizzard and the Lizard Wizard are at it again, and this time, they’re diving headfirst into the world of techno with their 28th album, Alien Metal. What makes this particularly fascinating is how a band known for their psychedelic rock roots is now embracing a genre that feels both familiar and foreign to their sound. Personally, I think this shift isn’t just a stylistic experiment—it’s a bold statement about their artistic freedom. King Gizz has always been a band that defies categorization, and this move into techno feels like the next logical step in their ever-evolving journey.
One thing that immediately stands out is their use of a modular synthesizer setup, which they’ve affectionately named “Nathan.” This isn’t just a tool; it’s a character in their musical narrative. What many people don’t realize is that modular synths are notoriously complex, requiring a deep understanding of sound design. For King Gizz to incorporate this into their live rave sets and now an entire album suggests a level of dedication that goes beyond mere trend-chasing. It’s a reminder that these guys aren’t just musicians—they’re sonic explorers.
The singles from Alien Metal—“Level 5,” “Alien Metal,” and “Kill for the Steel”—offer a glimpse into the album’s darker, more industrial vibe. From my perspective, this isn’t just a departure from their psychedelic roots; it’s an expansion of their musical vocabulary. Techno, with its repetitive beats and hypnotic rhythms, allows them to explore themes of alienation and futurism in ways their previous work couldn’t. If you take a step back and think about it, this album feels like a commentary on our increasingly digital, disconnected world.
What this really suggests is that King Gizz isn’t just adapting to the times—they’re shaping them. Their “Rave Shows” aren’t just concerts; they’re immersive experiences that blur the line between music and performance art. A detail that I find especially interesting is how they’re pairing these techno-driven shows with orchestral performances from their 2025 album, Phantom Island. It’s a juxtaposition that highlights their ability to exist in multiple musical universes simultaneously.
This raises a deeper question: What does it mean for a band to be prolific in an era where attention spans are shorter than ever? King Gizz’s relentless output—28 albums and counting—challenges the notion that quality and quantity are mutually exclusive. Personally, I think their approach is a middle finger to the industry’s obsession with perfection. They’re not just releasing music; they’re documenting their creative process in real-time.
Looking ahead, I can’t help but wonder where they’ll go next. If Alien Metal is any indication, they’re not slowing down. In a world where genres are increasingly fluid, King Gizz is proving that the only limit is imagination. What makes this band so compelling isn’t just their music—it’s their refusal to be boxed in. As they headline their Field of Vision II festival and take over New York with their Rave Shows, one thing is clear: King Gizzard and the Lizard Wizard aren’t just making music; they’re making history.
In my opinion, Alien Metal isn’t just an album—it’s a manifesto. It’s a reminder that art thrives on risk, and that sometimes, the best way to move forward is to embrace the unknown. So, when the album drops on Friday, don’t just listen—pay attention. Because what King Gizz is doing isn’t just music; it’s a movement.
