It comes as zero surprise when a new King Gizzard album lands in my inbox. Nonetheless, it’s always a treat to see what these tenacious Aussies are up to next. After last summer’s Flight b741, where the outfit played it somewhat straight with a boogie and blues rock sound, Phantom Island marks their first foray into orchestra territory. With 26 albums behind them—27 including this latest—it seems the lads still have new avenues left to explore. So, how have they done?
The answer is: good to fine. By bringing in composer and keyboardist Chad Kelly and working with the Los Angeles Philharmonic, King Gizz hasn’t jumped into the idea of a sweeping orchestral album half-heartedly. The result is a lush, often gorgeous-sounding record that really pops when listened to on proper headphones. Strings swoon and flutes sing as the band’s interlocking guitar lines fight it out. At 10 tracks, the project never overstays its welcome—no small feat, since such a symphonic noise could easily become overkill by the back end.
At its best, like on the title track, Phantom Island soars. The opening five minutes begin with a cinematic feel, then turn funky, before finally leaning into a glorious jazzy breakdown. Horns blast over Stu Mackenzie’s lyrics about paranoia, laughing crows, and galloping horses. Classic King Gizz stuff. Composed of songs leftover from Flight b741 sessions, no track shows this shared DNA more clearly than “Deadsticks.” It’s zippy as hell, once again seeing the band revel in serious Steely Dan tones.
Elsewhere, the more straightforward rock numbers aren’t harmed by the orchestral backing, but they’re not especially enhanced either. They recall those lush ’60s pop songs with the obligatory string section for added pizzazz. As always, it’s when King Gizz gets a bit weird that they hit the mark. On “Lonely Cosmos” and “Silent Spirit,” the band flirts with lounge music before weaving in Middle Eastern elements, creating something trippy and fun. It’s an intoxicating and entertaining mix.
As a whole, Phantom Island is a successful experiment that suggests the band might head toward a wilder, more conceptual orchestral record in the future. With more concrete songs, this album could have hit harder. As it stands, it’s a beautiful-sounding but occasionally forgettable record that sees the boys once again pushing themselves in new directions. I’m sure that with some planning, King Gizz could team up with Chad Kelly again and create a double album about a misunderstood dragon set in the year 2099—or something.
At this stage, the group can make a pretty fine album in their sleep. What I’d love to see is them take five and put together a knockout release that appeals to more than just the legions of Gizzheads. They’ve got the chops and the imagination. The real question is: do they have the patience?
CONE Score: 74/100
Byline: Sam Walker-Smart