It gives insight into contemporary culture. Whatever the band or their zealously devoted following say, the Gizzverse does provide one thing with absolute certainty. Martin does,” the band’s main songwriter Stu Mackenzie informed Uncut Magazine in April 2019. “ There’s a bit of that going on but it’s looser than what George R.R. Still, there is hope for those who spend time adding to the ever-growing collection of memes, flowcharts, and theories explaining this alleged Gizzverse. Even when band members have offered a stray thought on the matter, it often cuts across tongue in cheek. While King Gizzard have good-humouredly ‘confirmed’ an interconnected Gizzverse on several occasions, rarely have they given so much as a hint as to how much of their fans’ speculation is real as opposed to merely fanciful.
However, statements like these are best taken with a healthy dose of skepticism. They have planned what their final album – hopefully arriving many years from now – will be. Furthermore, the band has already decided, or so they claim, how the story ends.
These stories are connected and co-exist in a meaningful way. Each of these tales, the band contends, takes place in a universe of its own yet the band maintains all such universes are parallel. King Gizzard’s albums tell the stories of gamblers, cowboys, Australian Rules footballers, people-vultures, Balrogs, lightning gods, flesh-eating beasts, sages and space-faring eco rebels. There are a number of more debatable ‘cameos’ such Tyumi’s voice cropping up in ‘ Tezeta’ on Sketches of Brunswick East.ĭespite his fame, Tyumi is but one character among many. Han also appears on the cover of Fishing for Fishies, an album whose leading single ‘ Cyboogie’ chronicles the immediate aftermath of Han’s conversion to robotic form.
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The android is also speculated to be present on Nonagon Infinity and possibly Infest the Rats’ Nest. This, however, is not the entirety of Han’s story. This, in turn, kicks off a catamorphic chain of events known as the ‘ Murder of the Universe’ which occurs across albums Murder of the Universe, Polygondwanaland and Nonagon Infinity. Not long after its creation, Han and the Munt Machine make the decision to solve their respective shortcomings and merge. This does not sit well with Han who builds the Soy-Protein Munt Machine, a sentient apparatus embodying what Han believes to be the two defining characteristics of humanity: death and vomiting. First appearing on the closing song cycle of 2017’s Murder of the Universe, Han is the last amongst mankind to be born human before joining the rest of his race in becoming a fully digital being. The most well-known of these characters is Han-Tyumi. And, much like the shared continuities and cinematic universes which litter the storytelling of contemporary culture, it has its own recurring cast. In total, they come together as a slightly disjointed vision. Themes, musical ideas and characters slip between songs, and then albums. The longer a fan spends with their music, the more they begin to find the hidden links. While their records offer what seems to be simple combinations of garage rock, prog, jazz, blues, metal and psychedelia, the group’s songs sit heavy with innuendo and deeper meaning. Their mammoth output – 18 albums in ten years, five released in 2017 alone – has earned them a growing international following. King Gizzard & The Lizard Wizard are a band from Melbourne, Australia.
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