Chords for King Gizzard & the Lizard Wizard - Paper Mâché Dream Balloon ALBUM REVIEW
Tempo:
72.95 bpm
Chords used:
Ab
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You lost all credibility with me, Anthony, ever since you gave the Biebs a zero!
A zero out of ten!
That's not how bad the album is!
It's great!
It's not a zero!
I didn't even give it a zero.
That's completely inaccurate.
That's not the score that I gave it.
This is the cow zone!
This is my safe space, Anthony!
You can't tell me different things that I don't agree with in my safe space!
Hi, everyone.
Antoine Fantoine here.
The Internet's busy, blah, blah, blah.
And it's time for a review of the new King Gizzard and the Lizard Wizard album.
God, that is fun to say.
King Gizzard and the Lizard Wizard.
Paper mache, dream balloon.
King Gizzard and the Lizard Wizard is a Melon-
I said it.
Rock band.
They've been at it for a while, dropping one scuzzy, distorted, psychedelic, garage rock album after another.
However, when it's come to their recent output, they've been experimenting a little bit, trying some different stuff.
They put out an album earlier this year titled Quarters, which consisted of these four ten-minute tracks,
which not only saw the band exploring some different genres,
the intro track here had some notes of Latin jazz on here, which was pretty interesting,
and the other tracks, of course, dabbled in a bit of psych pop,
which isn't [Ab] anything new for them, but the ten-minute long track lengths on this album
caused the band to be kind of progressive and creative with their song structures.
And the band seems to be moving in another direction with this latest project over here.
They seem to have put down all electric instrumentation in favor of just acoustic instrumentation.
Acoustic guitars, upright bass, some drums, clarinet, flute, fiddle, harmonica, piano.
And they use all this acoustic instrumentation to compose twelve very tight tracks.
The band writes peppy folk tunes, very light, melodic pop psych, a little bluesy garage rock
that has a lot of instrumental layers to it since there's no blaring guitars in the mix drowning anything else out.
And as a result, the instrumentation on this project is pretty layered and intricate.
The instrumentation isn't heavy in any way, really, so the band had to get really creative with how they layered
and harmonized some of this instrumentation to make these songs sound thick, dense, wonderful, and fun.
It's folky, but freaky.
It's psych, but it's poppy.
It kind of reminds me of artists like Devendra Banhart,
maybe a little bit of Montreal and the Elephant Six Collective, a touch of Sufjan Stevens.
And the performances and the sessions on this [N] record are actually really organic and fluid and in the moment.
It sounds like all of this was recorded all at once with very minimal overdubbing, which is really nice.
There are a lot of sweet, catchy guitar licks on this record, very upbeat drum beats, some sweet flute leads.
The band packs a lot into these songs, despite only several of them passing the three-minute mark.
And most of them don't even feel underdeveloped.
It's interesting just how full two minutes of music can feel when it sounds like every second of it has been labored over.
Because even though these songs are short, King Gizzard went into them with very defined and short and to-the-point intros,
[Ab] verses, choruses, bridges, and [N] endings.
Aside from the acoustic instrumentation, it doesn't really seem like there's anything pulling all of these tracks together thematically.
So you can really kind of take each track here as a fun little folky bite-sized tune.
And there are quite a few highlights on here, like the intro, Sense, which features this really sexy, sweet, sensual clarinet lead
and a really nice acoustic guitar lick, some swaying chords that just switch back and forth between one another
very passionately and beautifully.
And as sweet as the instrumentation is on this track, and pretty much consistently throughout the entire album,
the vocals have this kind of high-pitched, intimate, close-in-your-face weirdo quality to them that,
as nice as this album is, it kind of knocks the mood off kilter and just makes it feel a little fringe, a little left-field.
However, I will say these very close, [Ab] high-pitched vocals do have the tendency to kind of fall in the [B] background after a little [Ab] while.
They don't command as much attention as I would have liked them to,
which is sad because some of the vocal harmonies and vocal melodies on here are pretty good.
And there are a few tracks on the back end where it kind of seems like the vocal [N] styles switch up
and the band tries to bring a bit of a narrative or make some kind of point or deliver some kind of message,
and the vocals just don't really have the power to bring it home and just kind of overtake the instrumentation and really say something.
Still, the vocals are enough to take tracks like Bone and Cold Cadaver
and just put a bit of a morbid vibe underneath the very sweet instrumentation on these tracks.
There are songs on here that are very whimsical and have kind of a ballad approach, like the song Dirt,
which sounds like a very beautiful, pleasant, acoustic dream, waking up well-rested, without a care in the world.
And the flute-led instrumental outro on this track is really nice, too.
But there is the song Trap Door, which is incredibly dark, incredibly moody.
I love the off-kilter refrain on this track.
Trap door, trap door, trap door, trap trap trap door.
It's dark and it has all these phantom noises hanging in the background.
It's an eerie, freaky little track, reminds me of The Black Lips a little bit.
I'm reminded of The Black Lips again on the song NGRI,
which has this fun, just very persistent piano chord playing throughout much of the track.
The band, even though these instrumentals are intricate and have a lot of musical flavor to them,
a lot of them just have these consistent, little, simple qualities to them that [Ab] make it instantly catchy
and just really propel the track and make the instrumentation feel energetic.
And even though I am reminded of bands like Black Lips or even Woods on this record,
occasionally I do think that King Gizzard, their instrumentation, their instrumental chops on this album
are just enough to kind of set them apart and make this album feel sort of special.
But I wouldn't say that completely overshadows the handful of spots on here
where maybe the band sounds a little bit too much like their contemporaries
or they're really just dishing out some garage rock or psych rock cliches on a bland track,
sort of like on the song Bitter Boogie.
But aside from that, I think this is a really good, fun album.
And if you are into folk rock, psych rock, garage rock, but with a kind of melodic edge to it
and a lot of dynamics, a lot of musical flavor, not so much aggressive but instead nuanced,
then I think this album is worth a listen.
I'm feeling a decent to strong 7 on this thing.
Tran?
Zishen, have you given this record a listen?
If you have, what did you think of it?
Did you love it?
Did you hate it?
Why?
What do you think I should review next?
That's it.
Antoine Fantoine, Anavan Housewolf, The Miraculous,
A zero out of ten!
That's not how bad the album is!
It's great!
It's not a zero!
I didn't even give it a zero.
That's completely inaccurate.
That's not the score that I gave it.
This is the cow zone!
This is my safe space, Anthony!
You can't tell me different things that I don't agree with in my safe space!
Hi, everyone.
Antoine Fantoine here.
The Internet's busy, blah, blah, blah.
And it's time for a review of the new King Gizzard and the Lizard Wizard album.
God, that is fun to say.
King Gizzard and the Lizard Wizard.
Paper mache, dream balloon.
King Gizzard and the Lizard Wizard is a Melon-
I said it.
Rock band.
They've been at it for a while, dropping one scuzzy, distorted, psychedelic, garage rock album after another.
However, when it's come to their recent output, they've been experimenting a little bit, trying some different stuff.
They put out an album earlier this year titled Quarters, which consisted of these four ten-minute tracks,
which not only saw the band exploring some different genres,
the intro track here had some notes of Latin jazz on here, which was pretty interesting,
and the other tracks, of course, dabbled in a bit of psych pop,
which isn't [Ab] anything new for them, but the ten-minute long track lengths on this album
caused the band to be kind of progressive and creative with their song structures.
And the band seems to be moving in another direction with this latest project over here.
They seem to have put down all electric instrumentation in favor of just acoustic instrumentation.
Acoustic guitars, upright bass, some drums, clarinet, flute, fiddle, harmonica, piano.
And they use all this acoustic instrumentation to compose twelve very tight tracks.
The band writes peppy folk tunes, very light, melodic pop psych, a little bluesy garage rock
that has a lot of instrumental layers to it since there's no blaring guitars in the mix drowning anything else out.
And as a result, the instrumentation on this project is pretty layered and intricate.
The instrumentation isn't heavy in any way, really, so the band had to get really creative with how they layered
and harmonized some of this instrumentation to make these songs sound thick, dense, wonderful, and fun.
It's folky, but freaky.
It's psych, but it's poppy.
It kind of reminds me of artists like Devendra Banhart,
maybe a little bit of Montreal and the Elephant Six Collective, a touch of Sufjan Stevens.
And the performances and the sessions on this [N] record are actually really organic and fluid and in the moment.
It sounds like all of this was recorded all at once with very minimal overdubbing, which is really nice.
There are a lot of sweet, catchy guitar licks on this record, very upbeat drum beats, some sweet flute leads.
The band packs a lot into these songs, despite only several of them passing the three-minute mark.
And most of them don't even feel underdeveloped.
It's interesting just how full two minutes of music can feel when it sounds like every second of it has been labored over.
Because even though these songs are short, King Gizzard went into them with very defined and short and to-the-point intros,
[Ab] verses, choruses, bridges, and [N] endings.
Aside from the acoustic instrumentation, it doesn't really seem like there's anything pulling all of these tracks together thematically.
So you can really kind of take each track here as a fun little folky bite-sized tune.
And there are quite a few highlights on here, like the intro, Sense, which features this really sexy, sweet, sensual clarinet lead
and a really nice acoustic guitar lick, some swaying chords that just switch back and forth between one another
very passionately and beautifully.
And as sweet as the instrumentation is on this track, and pretty much consistently throughout the entire album,
the vocals have this kind of high-pitched, intimate, close-in-your-face weirdo quality to them that,
as nice as this album is, it kind of knocks the mood off kilter and just makes it feel a little fringe, a little left-field.
However, I will say these very close, [Ab] high-pitched vocals do have the tendency to kind of fall in the [B] background after a little [Ab] while.
They don't command as much attention as I would have liked them to,
which is sad because some of the vocal harmonies and vocal melodies on here are pretty good.
And there are a few tracks on the back end where it kind of seems like the vocal [N] styles switch up
and the band tries to bring a bit of a narrative or make some kind of point or deliver some kind of message,
and the vocals just don't really have the power to bring it home and just kind of overtake the instrumentation and really say something.
Still, the vocals are enough to take tracks like Bone and Cold Cadaver
and just put a bit of a morbid vibe underneath the very sweet instrumentation on these tracks.
There are songs on here that are very whimsical and have kind of a ballad approach, like the song Dirt,
which sounds like a very beautiful, pleasant, acoustic dream, waking up well-rested, without a care in the world.
And the flute-led instrumental outro on this track is really nice, too.
But there is the song Trap Door, which is incredibly dark, incredibly moody.
I love the off-kilter refrain on this track.
Trap door, trap door, trap door, trap trap trap door.
It's dark and it has all these phantom noises hanging in the background.
It's an eerie, freaky little track, reminds me of The Black Lips a little bit.
I'm reminded of The Black Lips again on the song NGRI,
which has this fun, just very persistent piano chord playing throughout much of the track.
The band, even though these instrumentals are intricate and have a lot of musical flavor to them,
a lot of them just have these consistent, little, simple qualities to them that [Ab] make it instantly catchy
and just really propel the track and make the instrumentation feel energetic.
And even though I am reminded of bands like Black Lips or even Woods on this record,
occasionally I do think that King Gizzard, their instrumentation, their instrumental chops on this album
are just enough to kind of set them apart and make this album feel sort of special.
But I wouldn't say that completely overshadows the handful of spots on here
where maybe the band sounds a little bit too much like their contemporaries
or they're really just dishing out some garage rock or psych rock cliches on a bland track,
sort of like on the song Bitter Boogie.
But aside from that, I think this is a really good, fun album.
And if you are into folk rock, psych rock, garage rock, but with a kind of melodic edge to it
and a lot of dynamics, a lot of musical flavor, not so much aggressive but instead nuanced,
then I think this album is worth a listen.
I'm feeling a decent to strong 7 on this thing.
Tran?
Zishen, have you given this record a listen?
If you have, what did you think of it?
Did you love it?
Did you hate it?
Why?
What do you think I should review next?
That's it.
Antoine Fantoine, Anavan Housewolf, The Miraculous,
Key:
Ab
B
Ab
B
Ab
B
Ab
B
You lost all credibility with me, Anthony, ever since you gave the Biebs a zero!
A zero out of ten!
That's not how bad the album is!
It's great!
It's not a zero!
I didn't even give it a zero.
That's completely inaccurate.
That's not the score that I gave it.
This is the cow zone!
This is my safe space, Anthony!
You can't tell me different things that I don't agree with in my safe space!
Hi, everyone.
Antoine Fantoine here.
The Internet's busy, blah, blah, blah.
And it's time for a review of the new King Gizzard and the Lizard Wizard album.
God, that is fun to say.
King Gizzard and the Lizard Wizard.
Paper mache, dream balloon.
King Gizzard and the Lizard Wizard is a Melon-
I said it.
Rock band.
_ They've been at it for a while, dropping one scuzzy, distorted, psychedelic, garage rock album after another.
However, when it's come to their recent output, they've been experimenting a little bit, trying some different stuff.
They put out an album earlier this year titled Quarters, which consisted of these four ten-minute tracks,
which not only saw the band exploring some different genres,
the intro track here had some notes of Latin jazz on here, which was pretty interesting,
and the other tracks, of course, dabbled in a bit of psych pop,
which isn't [Ab] anything new for them, but the ten-minute long track lengths on this album
caused the band to be kind of progressive and creative with their song structures.
And the band seems to be moving in another direction with this latest project over here.
They seem to have put down all electric instrumentation in favor of just acoustic instrumentation.
Acoustic guitars, upright bass, some drums, clarinet, flute, fiddle, harmonica, piano.
And they use all this acoustic instrumentation to compose twelve very tight tracks.
The band writes peppy folk tunes, very light, melodic pop psych, a little bluesy garage rock
that has a lot of instrumental layers to it since there's no blaring guitars in the mix drowning anything else out.
And as a result, the instrumentation on this project is pretty layered and intricate.
The instrumentation isn't heavy in any way, really, so the band had to get really creative with how they layered
and harmonized some of this instrumentation to make these songs sound thick, dense, wonderful, and fun.
It's folky, but freaky.
It's psych, but it's poppy.
It kind of reminds me of artists like Devendra Banhart,
maybe a little bit of Montreal and the Elephant Six Collective, a touch of Sufjan Stevens.
And the performances and the sessions on this [N] record are actually really organic and fluid and in the moment.
It sounds like all of this was recorded all at once with very minimal overdubbing, which is really nice.
There are a lot of sweet, catchy guitar licks on this record, very upbeat drum beats, some sweet flute leads.
The band packs a lot into these songs, despite only several of them passing the three-minute mark.
And most of them don't even feel underdeveloped.
It's interesting just how full two minutes of music can feel when it sounds like every second of it has been labored over.
Because even though these songs are short, King Gizzard went into them with very defined and short and to-the-point intros,
[Ab] verses, choruses, bridges, and [N] endings.
Aside from the acoustic instrumentation, it doesn't really seem like there's anything pulling all of these tracks together thematically.
So you can really kind of take each track here as a fun little folky bite-sized tune.
And there are quite a few highlights on here, like the intro, Sense, which features this really sexy, sweet, sensual clarinet lead
and a really nice acoustic guitar lick, some swaying chords that just switch back and forth between one another
very passionately and beautifully.
And as sweet as the instrumentation is on this track, and pretty much consistently throughout the entire album,
the vocals have this kind of high-pitched, intimate, close-in-your-face weirdo quality to them that,
as nice as this album is, it kind of knocks the mood off kilter and just makes it feel a little fringe, a little left-field.
However, I will say these very close, [Ab] high-pitched vocals do have the tendency to kind of fall in the [B] background after a little [Ab] while.
They don't command as much attention as I would have liked them to,
which is sad because some of the vocal harmonies and vocal melodies on here are pretty good.
And there are a few tracks on the back end where it kind of seems like the vocal [N] styles switch up
and the band tries to bring a bit of a narrative or make some kind of point or deliver some kind of message,
and the vocals just don't really have the power to bring it home and just kind of overtake the instrumentation and really say something.
Still, the vocals are enough to take tracks like Bone and Cold Cadaver
and just put a bit of a morbid vibe underneath the very sweet instrumentation on these tracks.
There are songs on here that are very whimsical and have kind of a ballad approach, like the song Dirt,
which sounds like a very beautiful, pleasant, acoustic dream, waking up well-rested, without a care in the world.
And the flute-led instrumental outro on this track is really nice, too.
But there is the song Trap Door, which is incredibly dark, incredibly moody.
I love the off-kilter refrain on this track.
Trap door, trap door, trap door, trap trap trap door.
It's dark and it has all these phantom noises hanging in the background.
It's an eerie, freaky little track, reminds me of The Black Lips a little bit.
I'm reminded of The Black Lips again on the song NGRI,
which has this fun, just very persistent piano chord playing throughout much of the track.
The band, even though these instrumentals are intricate and have a lot of musical flavor to them,
a lot of them just have these consistent, little, simple qualities to them that [Ab] make it instantly catchy
and just really propel the track and make the instrumentation feel energetic.
And even though I am reminded of bands like Black Lips or even Woods on this record,
occasionally I do think that King Gizzard, their instrumentation, their instrumental chops on this album
are just enough to kind of set them apart and make this album feel sort of special.
But I wouldn't say that completely overshadows the handful of spots on here
where maybe the band sounds a little bit too much like their contemporaries
or they're really just dishing out some garage rock or psych rock cliches on a bland track,
sort of like on the song Bitter Boogie.
But aside from that, I think this is a really good, fun album.
And if you are into folk rock, psych rock, garage rock, but with a kind of melodic edge to it
and a lot of dynamics, a lot of musical flavor, not so much aggressive but instead nuanced,
then I think this album is worth a listen.
I'm feeling a decent to strong 7 on this thing.
Tran?
Zishen, have you given this record a listen?
If you have, what did you think of it?
Did you love it?
Did you hate it?
Why?
What do you think I should review next?
That's it.
Antoine Fantoine, Anavan Housewolf, The Miraculous,
A zero out of ten!
That's not how bad the album is!
It's great!
It's not a zero!
I didn't even give it a zero.
That's completely inaccurate.
That's not the score that I gave it.
This is the cow zone!
This is my safe space, Anthony!
You can't tell me different things that I don't agree with in my safe space!
Hi, everyone.
Antoine Fantoine here.
The Internet's busy, blah, blah, blah.
And it's time for a review of the new King Gizzard and the Lizard Wizard album.
God, that is fun to say.
King Gizzard and the Lizard Wizard.
Paper mache, dream balloon.
King Gizzard and the Lizard Wizard is a Melon-
I said it.
Rock band.
_ They've been at it for a while, dropping one scuzzy, distorted, psychedelic, garage rock album after another.
However, when it's come to their recent output, they've been experimenting a little bit, trying some different stuff.
They put out an album earlier this year titled Quarters, which consisted of these four ten-minute tracks,
which not only saw the band exploring some different genres,
the intro track here had some notes of Latin jazz on here, which was pretty interesting,
and the other tracks, of course, dabbled in a bit of psych pop,
which isn't [Ab] anything new for them, but the ten-minute long track lengths on this album
caused the band to be kind of progressive and creative with their song structures.
And the band seems to be moving in another direction with this latest project over here.
They seem to have put down all electric instrumentation in favor of just acoustic instrumentation.
Acoustic guitars, upright bass, some drums, clarinet, flute, fiddle, harmonica, piano.
And they use all this acoustic instrumentation to compose twelve very tight tracks.
The band writes peppy folk tunes, very light, melodic pop psych, a little bluesy garage rock
that has a lot of instrumental layers to it since there's no blaring guitars in the mix drowning anything else out.
And as a result, the instrumentation on this project is pretty layered and intricate.
The instrumentation isn't heavy in any way, really, so the band had to get really creative with how they layered
and harmonized some of this instrumentation to make these songs sound thick, dense, wonderful, and fun.
It's folky, but freaky.
It's psych, but it's poppy.
It kind of reminds me of artists like Devendra Banhart,
maybe a little bit of Montreal and the Elephant Six Collective, a touch of Sufjan Stevens.
And the performances and the sessions on this [N] record are actually really organic and fluid and in the moment.
It sounds like all of this was recorded all at once with very minimal overdubbing, which is really nice.
There are a lot of sweet, catchy guitar licks on this record, very upbeat drum beats, some sweet flute leads.
The band packs a lot into these songs, despite only several of them passing the three-minute mark.
And most of them don't even feel underdeveloped.
It's interesting just how full two minutes of music can feel when it sounds like every second of it has been labored over.
Because even though these songs are short, King Gizzard went into them with very defined and short and to-the-point intros,
[Ab] verses, choruses, bridges, and [N] endings.
Aside from the acoustic instrumentation, it doesn't really seem like there's anything pulling all of these tracks together thematically.
So you can really kind of take each track here as a fun little folky bite-sized tune.
And there are quite a few highlights on here, like the intro, Sense, which features this really sexy, sweet, sensual clarinet lead
and a really nice acoustic guitar lick, some swaying chords that just switch back and forth between one another
very passionately and beautifully.
And as sweet as the instrumentation is on this track, and pretty much consistently throughout the entire album,
the vocals have this kind of high-pitched, intimate, close-in-your-face weirdo quality to them that,
as nice as this album is, it kind of knocks the mood off kilter and just makes it feel a little fringe, a little left-field.
However, I will say these very close, [Ab] high-pitched vocals do have the tendency to kind of fall in the [B] background after a little [Ab] while.
They don't command as much attention as I would have liked them to,
which is sad because some of the vocal harmonies and vocal melodies on here are pretty good.
And there are a few tracks on the back end where it kind of seems like the vocal [N] styles switch up
and the band tries to bring a bit of a narrative or make some kind of point or deliver some kind of message,
and the vocals just don't really have the power to bring it home and just kind of overtake the instrumentation and really say something.
Still, the vocals are enough to take tracks like Bone and Cold Cadaver
and just put a bit of a morbid vibe underneath the very sweet instrumentation on these tracks.
There are songs on here that are very whimsical and have kind of a ballad approach, like the song Dirt,
which sounds like a very beautiful, pleasant, acoustic dream, waking up well-rested, without a care in the world.
And the flute-led instrumental outro on this track is really nice, too.
But there is the song Trap Door, which is incredibly dark, incredibly moody.
I love the off-kilter refrain on this track.
Trap door, trap door, trap door, trap trap trap door.
It's dark and it has all these phantom noises hanging in the background.
It's an eerie, freaky little track, reminds me of The Black Lips a little bit.
I'm reminded of The Black Lips again on the song NGRI,
which has this fun, just very persistent piano chord playing throughout much of the track.
The band, even though these instrumentals are intricate and have a lot of musical flavor to them,
a lot of them just have these consistent, little, simple qualities to them that [Ab] make it instantly catchy
and just really propel the track and make the instrumentation feel energetic.
And even though I am reminded of bands like Black Lips or even Woods on this record,
occasionally I do think that King Gizzard, their instrumentation, their instrumental chops on this album
are just enough to kind of set them apart and make this album feel sort of special.
But I wouldn't say that completely overshadows the handful of spots on here
where maybe the band sounds a little bit too much like their contemporaries
or they're really just dishing out some garage rock or psych rock cliches on a bland track,
sort of like on the song Bitter Boogie.
But aside from that, I think this is a really good, fun album.
And if you are into folk rock, psych rock, garage rock, but with a kind of melodic edge to it
and a lot of dynamics, a lot of musical flavor, not so much aggressive but instead nuanced,
then I think this album is worth a listen.
I'm feeling a decent to strong 7 on this thing.
Tran?
Zishen, have you given this record a listen?
If you have, what did you think of it?
Did you love it?
Did you hate it?
Why?
What do you think I should review next?
That's it.
Antoine Fantoine, Anavan Housewolf, The Miraculous,