The Bowery Presents
King Gizzard & The Lizard Wizard

King Gizzard & The Lizard Wizard

Quintron And Miss Pussycat, Tonstartssbandht

Fri, June 19, 2015

Doors: 8:00 pm / Show: 9:00 pm

The Bowery Ballroom

New York, NY

$15

Sold Out

This event is 18 and over

Pre Show (7pm-doors)/Post Show Happy Hour Lower Level Lounge

King Gizzard & The Lizard Wizard
King Gizzard & The Lizard Wizard
Like many of the world’s greatest artists, King Gizzard and the Lizard Wizard are one of the most difficult bands to pin down. The Australian-based septet constantly zig when you think they’re about to zag.

Starting out in 2010 as a solid garage rock group, they’ve followed their collective muse wherever it chose to lead them, whether that be the bluesy alien psychedelia of their 2014 album Oddments or the expansive, almost jazzy, Dead-like head trips of Quarters! Or as frontman Stu Mackenzie puts it, “I always wanted to be a band where you would expect the unexpected each time, with each album being treated like a different phase.”

For their latest opus, they initially thought it was going to be filled with the darker, heavier material that the band has been playing live of late. But Mackenzie soon decided that it was time to put aside the longer, more conceptual pieces and go in a completely new direction. Hence, the band’s seventh album Paper Mâché Dream Balloon was recorded using nothing but acoustic instruments. The result is a lovely, lilting pop masterpiece that still evokes the same intoxicating exuberance as KGATLW’s most recent work, but with a more pastoral, communal feel to it.

That spirit came alive in the writing and recording process. Unlike the last two albums, there is no overarching theme tying it all together. So, rather than cooking the whole thing up as a group in the studio or rehearsal space, the various members of KGATLW wrote separately, bringing their songs to the group as they finished them. “There was a lot of collaboration,” says Mackenzie, “but in smaller combinations.”

That could have made for a schizophrenic batch of tunes, but the band are so deeply connected at this point that they each reached the same sonic conclusions, combining the rambling pulse of T. Rex (“The Bitter Boogie”), the free-spirited bliss of The Free Design (“Dirt”), and the countryside wanderings of late ‘60s Kinks (“Bone”, “Most of What I Like”).

While embracing the limitations of their choice of only acoustic sounds, KGATLW were able to get a little experimental as well. To fill out the sound, they borrowed a batch of instruments that they had never played before—clarinet, double bass, and cello, among them—and eked sounds and melodies out of them. That only helps to add to joyous jumble that is Paper Mâché Dream Balloon.

Too, the band eschewed traditional recording methods for most of this new LP. The bare bones of many of the songs were laid down by Mackenzie in a shipping container that sat on his parents’ farm on the Victorian coast of Australia. From there, the band stitched the rest of it together with overdubs and new recordings in their bedrooms and home studios, outside of the closing instrumental “Paper Mâché,” which was captured with the help of Unknown Mortal Orchestra bassist Jake Portrait while they were in New York.

As ever, King Gizzard and the Lizard Wizard aren’t going to rest in this acoustic wonderland for long. The band is already gearing up for another long stretch of touring, where they will be adapting some of these tunes for their electrified lineup as well as returning to the heavier material they were already working on.

“I think everyone knows what this band is about,” Mackenzie says. “I have always been afraid of being pigeonholed. The band personality is to try and do something that you wouldn’t expect.”

Mission accomplished.
Quintron And Miss Pussycat
Quintron And Miss Pussycat
"Quintron has been making genre-defying noise and "Swamp-Tech" dance music in New Orleans for over fifteen years. The majority of his 13 full-length albums have the psychedelic soul of New Orleans garage R&B filtered through a tough distorted Hammond B-3 and a cache of self-made electronic instruments. He has also released strange soundscapes based on inner-city field recordings of frogs and neighborhood ambiance as well as holing himself up in THE NEW ORLEANS MUSEUM OF ART for three months to create the epic "Sucre Du Sauvage" (Goner, 2011). In addition to his own recordings, Quintron has played organ on a number of other records, most notably THE OBLIVIONS "9 Songs" and STEVE RILEY AND THE MAMOU PLAYBOYS "Grand Isle" which was nominated for a Grammy in 2012 and featured the Quintron penned song "Chatterbox".

Quintron regards his most significant creation to be his patented instrument called the THE DRUM BUDDY, a light activated analog synthesizer that creates murky, low-fidelity, rhythmic patterns. Notable DRUM BUDDY clients include performers Nels Cline of Wilco, Laurie Anderson, Fred Armisen, and DJ Mr. Dibbs. He has recently invented an analog "drone synthesizer" called THE SINGING HOUSE which is completely modulated by the weather.

Quintron's permanent collaborator is none other than master puppeteer, MISS PUSSYCAT who plays maracas and sings, as well as entertaining all age groups with her highly amusing technicolor puppet shows.

Hers are complex puppet shows beautifully crafted for success in intimate venues of late night drinking and dancing: tactile, idiosyncratic characters, pithy dialogue, electronically pixilated soundtracks, and trippy black light effects create a visual and engaging overture/finale to Quintron and Miss Pussycat's music sets. Quintron aids in puppet manipulation and voicing. Miss Pussycat, in turn, sings lead and back-up and plays maracas during Quintron's performances.

The Quintron / Miss Pussycat experience is one of barely controlled electronic chaos, "Swamp-Tech" dance beats, small explosions, incredible clothes, and entertaining puppet stories. You can see them perform regularly at the Spellcaster Lodge in New Orleans, Louisiana or on one of their many tours around the world. This act somehow has equal relevance in sleazy nightclubs, pizza restaurants, and university lecture halls."
Tonstartssbandht
Tonstartssbandht
FLORIDA
BROTHERS
SINGING
BURNING
HITT
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002
http://www.boweryballroom.com/