In the past three-plus years, Australia’s King Gizzard and the Lizard Wizard has self-released nine studio albums and more than a dozen live, remix, and demo collections, grown its audience by a factor of at least 10, jumping from clubs and theaters to packed shows in historic venues such as New York’s Forest Hills Tennis Stadium and Los Angeles’ Hollywood Bowl, and somehow managed to find time to function as, you know, actual human beings with spouses, girlfriends, children, and lives not 102% devoted to the all-consuming art of music-making.
For many bands, creating that art can often feel more like work than pleasure. For King Gizzard, comprised of
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