King Gizzard morph and transcend into a band that somehow still sounds like themselves, but on a different plane of emotion, reflection and growth.

King Gizzard’s second release of October 2022 and fourth release of the year, Laminated Denim is noted by the band as the “spiritual successor” to the first 2022 Gizz album, Made in Timeland. As mentioned in my review of that album, Timeland was mostly an experimental endeavor built around the idea of a ticking clock. It was originally intended to be intermission music for the 2020 Red Rocks shows, but due to pandemic delays, it ended up being preemptively released as part of the “Return of the Curse of Timeland” concert. The liner notes for Laminated Denim indicate that the band found themselves in a dilemma as they had just given away music that was slated for a Red Rocks release. Now the band needed something to fill this void. In comes Laminated Denim. Cleverly titled, Laminated Denim is an anagram of the letters in “Made in Timeland”.  Also like Timeland, Laminated Denim is composed of two 15-minute tracks that are paired to the ticking of a clock. Beyond this, the similarities between the two albums are minimal.

Recorded midway through their previous album Ice, Death, Planets, Lungs, Mushrooms, and Lava, the press release indicates the songs were composed the same way as IDPLMAL, with the band jamming first. [It is Important to note that this record and IDPLMAL are the first time fans actually get to hear all members of the band (including bassist Lucas) on a studio album recording, as other band members have filled in for bass tracking on previous album recordings.] “Laminated Denim was recorded in basically the same way,” says Mackenzie. “We set up with not a lot of ideas, just this ticking clock. We laid down a lot of recordings and ended up stitching it all together.”  This time, however, the recordings were done digitally (versus tape on IDPLMAL) so that they could be easily synced up with the ticking clock drumbeat during editing.  The album begins with a timpani drum reverberating like a ticking clock. This beat evolves, coming in and out through moments of the album, and later bookending the album. This beat serves to connect very two different-feeling songs together.

The first song, “The Land Before Timeland,” feels like Gizz got together on a beautiful Saturday morning and jammed for hours, made lunch together, smoked a few, and then hashed out some really fun/groovy, but interesting music without ever really stressing it. I imagine that each time a member got an idea, they would burst through while other members kept the groove going.

The track starts off with a guitar line very reminiscent of one from “Fishing For Fishies”, but it soon builds with the rest of the band to a mini-jam. Before going too far though, the soft-spoken joyful verse begins to set the upbeat tone of the track. As the verse flows into a pre-chorus, the wah-wah guitar, and other instruments propel the song to a chorus(?) of “Laminated Denim” that is reminiscent of a jingle catchphrase. It almost feels like the band has broken the fourth wall, and we are being told about the origins of the album itself, “it’s good to be back, re-railed, back on track” possibly to a time or state of mind before a pandemic wreaked havoc on the entire world.

 As the song grows, the pulse of the jam tells a story with enough space to allow the listener to experience the music one part at a time without knowing what will unfold next. While the drums and tight bass persist, harmonica and wah-wah guitar are carefully sprinkled here and there, clean guitar licks are calling and responding, and flute is adding warmth when needed. The jam feels natural and free, but at the same time focused and driven, and while the song doesn’t appear to follow any conventional song structure, the vocals only seem to come in when they feel right, and not based on a certain number of measures. The same holds true for the instruments as they aren’t forced into certain parts, but flow in only when needed and sometimes only for a short time. While the jam is full, each instrument shares the stage equally, allowing for a cohesive, but not homogenous jam.

With 5 minutes left, the song grows with new layers as if the band is working towards an epic outro. Circular riffs layer over each other with harmonica as we appear to be climax-bound, until the band pulls away for one last chorus. Then, when you least expect it, the chorus fades and the clock beat kicks back in. From here the track grows in a completely different direction. The tone is dark. Bass, guitars, and wah-wah guitar begin creating continuously swelling tension. It’s very transcendent, and simultaneously feels like the song is being ripped apart. After a very prog synth line kicks in, distorted vocals strain through the mix as if trying to be heard over the tense jam. This is one of the most cathartic and emotionally charged segments of music the group has ever recorded. This outro section might be one of my favorite segments of music the band has released since “Crumbling Castle.”

 The next track, “Hypertension,” starts off with a dark and morose tone that is a bit in the vein of how the previous song ended. Composed of mostly sparse instrumentation coupled with ghostly vocals. The words “Laminated Denim” are sung, but with a much more matter-of-fact tone. They are not a joyous chorus like the previous track. From here the song flows to a guitar-centric jam that is very reminiscent of live Gizz jams. While dueling guitars pulse around polyrhythms, Cavs’ timpani clock beats in the background. This jam is very electric and very epic. Throughout the jam, dark vocal parts come back in, almost to remind the listener of the dark tone previously set. “…Stress grows…the pressure grows…hypertension is all that’s left” perfectly describes the tension in this song.  But as the jam progresses onward, it trades tension for power in the form of guitar rage. While “The Land Before Timeland” shows the band’s skill with numerous instruments, Hypertension displays their ability to jam with mostly guitar and percussion.

With 4 minutes left, Xylophone comes in to lighten the feel right before the music flows into an uplifting chorus, which surprisingly fits in a song that has spent so much time developing a much darker tone. This chorus is a bit of a trick because it comes in at a little more than 3 minutes left, and almost serves to wipe out all the tension that the song has created. A brief jam ties this chorus to the most uplifting part of the song (my second favorite part of the album) where guitar quintuplets, flute, and airy synth transcend this track to place of positivity and resolve right before an unexpected final chorus. The band now sings the phrases “laminated denim” and “hypertension” with apparent clarity.  It’s as if the song is saying “the darkness has passed, we know the way, and it’ll be ok”.  After you’re done listening to the song, the uplifting song outro stays with you as if it was the main motif of the song.

As I began to write this review, I started to see a connection (intentional or unintentional) with this album and the rollercoaster that is human emotion and mental health. The Land Before Timeland mimics a day or period of time that starts upbeat but ultimately finds its way unexpectedly to a state of stress and uncertainty. “Hypertension” mimics a time of apathetic gloom, where tension and stress build all around in an inescapable pit. Just when all hope seems lost, the mind finds a way to climb out, and turn apathy and stress into optimism and reflection on the gloom that has now passed.  This is the emotional rollercoaster that King Gizzard has created with these two tracks, intended or not.

The band states on their website, "This album is for our fans. We are so lucky to have you!" This album truly feels like a fan album. It might be a bit hard to swallow for a first-time listener, but most Gizzheads should truly appreciate the moods and feelings this album creates as we watch King Gizzard morph and transcend into a band that somehow still sounds like themselves, but on a different plane of emotion, reflection and growth.