Five albums. One year. Review.
We’re three weeks into my 5-part review of King Gizzard and Lizard Wizard’s five releases of 2017, so correspondingly here is the 3rd album review, released August 18th.
3. Sketches of Brunswick East (with Mild High Club)
Coming from another side of the Gizzard spectrum entirely is Sketches of Brunswick East, a jazzy, psychedelic record produced in conjunction with jazzy, psychedelic artist Mild High Club. Perhaps the most accessible of the five, both artist’s styles mix to near perfection, with Mild High Club’s signature chill, jammy style complimented nicely by the utter insanity of King Gizz. The synthy-est record by the group, (at the time) the pleasant soundscapes burrow themselves incessantly into the mind of the listener, punctuated by far-out solos in the standard Gizzard vein, albeit laid back, however slightly. There are even moments of microtonality, a welcome addition to the jazzy grooves. Each song transitions smoothly into the next, and the interim jams and noises paint a picture of a bustling city street perhaps even more effectively than MotU paints it’s post-apocalyptic hellscape, with all the spoken word.
Insanely catchy melodies permeate the album, and it seems like the only real problem with the record is its length, clocking in at a mere thirty-seven minutes in a situation where a solid hour and a half of jams would be not only entirely appropriate, but welcome. The record features the same complex rhythmic patterns the band is known for, as well as showcasing Mild High Club’s rhythmic stylings on tracks like The Spider and Me and Sketches of Brunswick East II, and in some segments features chord progressions I’ve never heard from the band, as well as a mix distinct to Mild High Club, accentuating the bass and reverberating everything to hell. The record only really suffers from the length and the “same-ness” suffered by both of the previous albums, something nearly impossible to avoid while releasing five albums in a single year. An extremely pleasant listen, catchy throughout, and overall a soft stroll through both artists advanced repertoires with humor even subtler than the previous record, the album proves itself a groovy-as-all-get-out, and worthy, addition to both discographies, even if it doesn’t do anything especially “new.”