I spent most of my adult life doing this band, and I've spent most of that time feeling like it's all about to wrap up, and fuck, I'm just gonna have to go and get a real job, and like, holy shit, isn't that like just the most unbearable thought.
I don't know what I'm gonna do, Like, holy fun, what am I going to do? This is a disaster, like I can't I can't do that.
And so I think it probably has been like a slightly motivating factor and just doing a heuse of stuff.
Welcome to Midnight Chats. Good evening, folks. Good to have you with us tonight. This is the music interview podcast for late night listening. I'm Greg and I'm here with Stu. How are you doing, Stu?
I'm good, Thanks mate, Yeah, I'm good. How are you?
I'm good.
I'm good.
You're serving up a hot and sizzling podcast for us tonight, as oh, you've been in the kitchen.
Yeah, I suppose it is quite a hot and sizzling episode. This week on the podcast is King Gizzard and the Lizard Wizard main man, front man, main guitarist, main songwriter Stuart McKenzie. Another Stewart is chief. Yeah, yeah, exactly, the king of King Gizzard and a lizard wizard.
Of all of the famous major music stars that you've now met called Stuart.
Was this your favorite Stewart. I don't like to talk ill of the Stuarts because there aren't many of us out there. But there's only been one other Stewart on the podcast. Yeah, and that is Stuart Breakway from Moguay of Moguai, myself of course, Stuart Stubbs, and now Stuart McKenzie. Who's the best Maguy or King Gizzard Stewart. I'm gonna go I can't say I oh, gop out, I'm copying out. I mean, this is a great chat. I love King Gizzard.
They have a reputation for being one of the world's best live bands for good reason, such an incredible band, so I was really excited to hear Stu talk about the band. I don't feel like he talks about the and that often, certainly not on podcasts. So this conversation went in some really interesting directions. Yeah, this is very much one for fans of the band, I think because we get into the music, and that is because there's so much of it if you are unfamiliar with Kinkizard
and the Lizard Wizard. I'm saying the whole name every time, by the way, Greg, if you're unfamiliar. They are a psychedelic rock band from Melbourne in Australia and they have released twenty five albums over the last eleven years. The prolific nature of this group is that thing. We talk about it a lot on this podcast. So obviously there's a lot of music to get into. But here's what I love about this band. It's not just that they make so many albums, it's how considered each of those
records are. I'm going to let me throw some things that you hear, Greg, because every record they do sort of has a experiment at the middle of it. So their album from twenty sixteen called nonagone Infinity was an album that played on a loop paper mache dream Balloon. They've got good titles as well. Twenty fifteen that was made exclusively with acoustic instruments. Flying Microtonal, Banana, you're.
Making these up.
The funny thing is you're not.
I'm not.
Yeah, that is a microtonal album. I'm still not really sure what microtonal is. To be honest, they've got a jazz album called Sketches of Brunswi Kids. There's always something, is what I'm getting at. There's always It's not just they're like dropping out these albums that all sound the same, that they've all been very considered. They've got very different
things going on. And their current record, at least at the time of recording, and there's a very good chance a new King is that record will be out by the time you're listening to This is called the Silver Chord, and that one has been made purely with synthesizers. This is a rock band, you know, very much a guitar rock band, and this new record they've put down all the guitars. There's no guitars on it, and it's their electronic synthesizer record. And I just like that they challenged
them in that way. And as I say, like there was just a lot to get into. So there's a lot of music talk in this episode. Let us know what you think of the episode. We are Midnight Chats Pod on the social platforms on TikTok on Instagram. You will be able to watch some video clips of ste chatting to Stu as well so so do go and
check those out. Just one thing I wanted to say on that Greg actually on the social just a social's update because we are new to it here on the show Mate, we are doing some numbers, especially on TikTok, which I'm brand new to. I know you are as well, but I feel it's our calling. Check this out. Thirty six people we're following. That one doesn't really count because we've chosen that follow us seven likes eighty two. So
pretty viral stuff going on over there. If you're listening, if you're listening as a TikTok person, get involved.
Exactly, even if it's out of sympathy.
For now though, here is Stuart McKenzie one of the best stewarts we've ever had on the show. I mean, do you get completely bored of the sort of thing that people want to talk to you about is just how many records you make and how prolific you are.
Oh no, it's like very It's always very flattering to hear that people notice that shit, to be honest, and yeah, I mean I'm happy to talk about it. It's like kind of what I've spent my whole life doing, my whole adult life doing.
Really, it's just mostly that thing.
It's just like touring and making records and trying to keep the rest of my life on track in the in between moments.
It is so unique. There's a few doing it, I guess like John Dwyer and the OCS, who I'm guessing you know quite well. Having really on castle face. Were you always a fan Have you always been a fan of artists who have that huge back castlock? Was that something that you wanted for yourself, Like we want to be a band that makes a lot of records. It has this sort of catalog, this that people can just live in forever.
I think with I mean, firstly, shout out to John Dwyer, who who definitely did support us in like such a massive way, one of the first people outside of Australia to get behind our music in any way. But yeah, we didn't have too much of a sort of mission statement I suppose when we started the band, I mean we it was it was none of our first bands, and I think we definitely wanted to do a different thing to any of the bands that we were currently in.
King Gis was definitely an experiment right from the beginning, and it was sort of like, what would happen if we did this, you know, or what would happen if we did this? And one of the very few things that we did say and think about early was let's
try and make a lot of records. And I think the place that it came from was trying to drop any ego easy said than done, not be too precious about your songwriting easier said than done, and just learn on the go, because I had realized that, at least for myself, until I actually had put down a recording, and this kind of went for all the things I was doing before King years.
I couldn't stop thinking about it. You know.
I would work on a song, and I'd be working on it late at night in my bedroom, which was typically how I recorded at that point, and it just would be swirling around in my head until I put it on the internet, or i'd burnt it to a CD, which is what you did in the olden days, and put it in my car, or i'd just done something to put a bow on it. I was pretty content on putting bows on things and just finishing them and just being able to kind of move on and think
about how to write songs. And learn how to write songs and just do it in public, I suppose.
And it's so rare, isn't it, to like find a group of people willing to go with that? As you say, meant like it wasn't your first bands, and you sort of wanted. But you guys started very young, didn't you. Were you still in high school when you started.
Ambrose was the only one still in high school when kids had started. He might have just been eighteen, maybe he was seventeen still, but Joe's maybe four years older than Ambros. So yeah, we started between let's say eighteen and twenty two.
You went to school in Geelong, right, I did go to.
High school in Geelong. I went to school.
I went to high school with Cookie, but I also played So I played in a band with Cookie in high school. But I also played in a band with Lucas in high school, who also went to school in Geelong, but at a different school.
What were those bands?
Like?
The band that I played in with Cookie was called Revolver and Son, and we were doing a I suppose, authentic to the point of literally being teenager's garage rock thing, like like a sixties garage rock thing to the point of like, you know, wearing Paisley button up shirts and cowboy boots and like and and playing with no distortion on our guitars and stuff like that.
Exactly. Yeah, that sort of thing.
So yeah, Cookie and I played in that band together, and then yeah, I also played in a band with Lucas, which was I suppose you would say more indie, but was definitely still like a rock band, rock band format, more indie and probably more psychedelically tinged a lot more sort of like bigger sounds and effects and spatial kind of things. And that band was called The Houses the Calves Drama from the king Is. He joined the Houses
later and I reckon. That was my first year of UNI, and I met Calves through Eric, who was well it was part of the part of the band until a few years ago. Eric and I went to UNI together with Joe as well, and.
Ambrose played in a band.
With Lucas at the same time that I played in a band with Lucas and that was called Sambrose Automobile. So we actually are all connected deeply to like our very earlier, earlier years, and we were all living in sharehouses like most of us, maybe everybody at one point lived in these two sharehouses which were like on a
corner in Carlton, which is in Melbourne. So and that was before the band started, So we were all the bands were kind of playing shows together and going to shows and going to parties and King Gis was a collective of people who wanted to be in the experimental band, I think, and the lineup included a lot more people in the earlier years, probably for like a two year period.
It was a fluid membership.
There was there was technically wasn't members of the band, I would say, but over the years most people decided it was like either boring or annoying to be in the band and bailed. So we sort of just were naturally solidified into the kind of the group.
We also had Amy Taylor on the podcast Yeah last year, so we were talking we were talking about about like the Melbourne scene. She was about how Amil and the Stiffers started out purely to just play that friend's yard party, Like that was it, that was like the intention?
We were the same, like that same.
Yeah. I'm starting to think maybe that's like a typically like sort of Melbourne thing because where you are there is like a culture of house parties where bands turn up right and people play that mates house pis.
I do feel like less kind of connected to the visceral sort of like house party thing these days, but I definitely can say that, Yeah, fuck fifteen years ago or whatever, when I started doing that sort of thing.
It, yeah, it just was what it was like most house parties we went to.
Someone played some form of like live music, and it
was really dope and normal and like fun. One thing that I didn't realize at the time, and kind of after traveling a lot and seeing a lot of sort of like music cities, I realized it's maybe a little unusual and cool about Melbourne is most of the music industry is in Sydney in Australia, but Melbourne has the majority of the venues and the shows and the bands and the artists, like by a good stretch, and it does definitely create a different atmosphere because no one's like
we didn't we weren't even thinking about We had no idea how anything worked, Like, we weren't thinking about how we would get to the next stage or any form of strategy or anything.
Like.
We were just playing shows because like it felt good and like we enjoyed playing music together in the sort of like wholesome, old fashioned.
Sort of way.
It is a beautiful thing about Melbourne and it may change, but I secretly hope it doesn't.
In terms of these twenty five albums that you've currently made, do you spend much time looking back at the old ones or when they're gone? Are they gone? Because I was also thinking, how do you sort of even remember them on? Once you're getting into the twenties? Oh, yeah, we made that record, isn't we?
I think I could still very easily name them all. I think I might struggle to rattle off track list. Maybe maybe that's where it starts, the memory starts getting hazy. I think maybe at ten records that were still pretty easy to like do that.
Well.
I'm glad you've said this too, because I had an idea of something we could do.
Please don't make me do that.
This is not going to be This is not going to be a test yep, as we've already established. I think it's incredible that you've made so many albums in such a short period of time. But what I think really makes it the next level is that each of those albums has got a very different experiment within it. It's not like you've made twenty five albums of the
same album, like, far far from it. I thought, maybe, if you're up for this, I could if I could just name a couple and you could just tell me what you're int what your sort of instinctive memory of that record is. Again, let's do it and tell me the thing that the first thing that comes up, the first thing that comes up. Essentially, I've I've just got a few here, okay, not a gone infinity.
This was very much inspired by playing a lot of shows. When we really started to tour internationally was kind of twenty fourteen, and that's really when the seeds of nonagone were set. And yeah, we were trying to do this thing in the shows at that point around twenty fourteen, where we wanted to start and not stop. And at this point we weren't doing like long shows like we are now. They might have been sixty minutes felt like
a very long show in those days. But we were trying to do this thing where we'd start and play the whole time and every song would kind of like blend together and mash into each other, and you know, we didn't want it to be like atmospheric and ethereal. We wanted it to just like be like freakishly intense and like just an absolute assault of like all of your senses.
I saw you on that tour and it was that really good to really good to scritch. It was amazing. Yeah, it was that.
It probably did take us like eighteen months of touring to kind of figure out what was going to work in that way, and in fact we did. We started recording it. We made a good, good dint on it. We actually thought we'd recorded all of it, and we got to the end and we realized that it wasn't done, and so we took a break and we made paper Mashe a Dream Balloon, and that was like this incredible palate cleanser because it needed to be the opposite thing
to Nonegone. It couldn't compete with any of those ideas.
We should just say to people that maybe don't know, not a got Infinity, the record that plays infinitely, it's it's a loop, isn't it that records like a loop?
That sort of it is a loop.
Cup comes background and then the following Paper Masha Dream Balloon is the record that you made completely using acoustic instruments.
Correct, Yeah, and so non agone has this sort of like intense atmosphere and everything is just on Max and sped up and there's no downtime and it's just it's just it's just like press play.
And then just go.
And we were trying to do that, which which did which did actually prove to be harder than we thought to just insert no breathing space into you know, nine songs in a row and make them work and make sense back to back. So yeah, I don't know, I could go on for I could go on forever.
I mean it sounds like, you know this a lot, a lot better than I certainly would. There's many albums in Okay, here's a enough one. Yeah, let's go more more recent Infest The Rat's Nest.
Okay, I remember it being insanely hot. Yeah, it was.
It was. It was kind of we did the main tracking in the middle of summer and we're in our old studio at this at this point, it was probably one of the last things we did there and no AC in there. I think we I think we actually got AC right after this session because we were just like, holy fuck, this is like actually dumb, like this is like we're going to die or something.
Someone's going to get the keystroke in here.
Because it's like it's like illegally low ceiling and just like a very very small compact box that was also like never vacuumed or anything and just was like dusty and just like disgusting and the middle of Australian summer.
But anyway, we had talked about making a metal record for four years, and I think when we made not Ago and actually going back to that at that time, that actually felt like us doing a metal thing, and in hindsight it wasn't really, but that was us leaning into that, but still sort of playing twelve string guitars with like you know, like I don't know, vintage fuzz pedals and shit, you know, like it was a different,
different thing. And then Murder of the Universe felt a little heavier again, and then I think after that we sort of leant into some sort of.
More metal leaning things.
You know, Murder of the Universe has like vomit coffin, which maybe feels heavier, and then on Gum Boot Soup there's like great chain of being which sort of feels sludgy and maybe you could actually call that metal maybe, And I think we were trying to find this, like this niche that kind of made sense to us.
Shout out to Vomit Coffin by the way. I mean, I can't let you just drop that in without a note, without recognizing the track title alone. I mean, you know, come on, well.
The track title, the track to actually has a backstory as well. The backstories of the track title is my little brother Lucky and a few of his friends, including my cousin Tom McKenzie, and a bunch of other people. Actually can't remember the exact line up, but it was just a lot of people that were around our family house and wood when we were young, like early teenage years.
I'd say.
They had a band that would rehearse in in in the garage, in parents' garage, and it was like a parody metal band, and I think they were quietly taking the piss out of me and my friends and the bands that we were playing in. But but yeah, it was like a parody sort of like they were taking the piss out of out of out of everything, and just that actually, we're having an amazingly beautiful, awesome time as well.
How much younger than you is your brother two years. I'm the younger by two years, and this is the sort of thing that I would do to.
But anyway, the band was called Vomit Coffin and okay, great, and I'll never forget that because it's just it was just so perfect.
It's like, this is this is amazing.
I'm going to use that in something one day, and so yeah, one day it made it.
Finally, it finally made it in twenty nineteen. With that record, did you get any sort of idea of how sort of metal fans like took it, Because you know, like all sort of really dedicated fan groups, they probably would have had had a thought on this other band who are not traditionally in a metal band suddenly making a trying to make a metal record.
Honestly, I have learned to try not to dig into that shit very much. But I definitely have noticed more black t shirts with like metal band logos on them the shows.
So that's that's a sign, I think.
I think for me, like, I've always tried to approach every record as if it's first album, and that's the kind of way I'd like. Obviously, no one's ever going to think of it like that besides me, but that's the way in my mind, I would like people to perceive each record and if they don't, like it's totally fine, but it helps me to.
Have the sort of.
I just remember like being in a band and making your first record and how it doesn't matter, and it's like, oh, maybe it does for some people, but when you sort of in your earliest band and a good crowd is like six of your mates in backshed, like you don't you don't really that concerned about what connoisseurs of the genre are going to think about your album. Like I've tried to tried to keep that sort of like mindset
as much as I can. Again, easier than done, but like something that I would try to check myself on.
I think one.
Last one I wanted to just pick out was poly God on Polygond wanna land? Am I saying that incorrectly.
It doesn't matter. It's not a real word, you said, Is it not.
A real word? Okay, Polygond want to land? I'm going to go with that. We released this one on a tape, oh mad, thank you that we that we that we put out and we just like you know, raised a little bit of money for a charity. I think it was a refugee charity that we did. This came out in twenty seventy.
Thank you.
This was the record that you'd made and you you just put out, didn't you just let you? You sort of encourage people to release it. Put it wherever you want. If you want to put it on your record label, put it on your record label. If you want to do a tape to a tape, if you want to, you know, just share it around. What what? What was the thinking behind that?
That?
Yeah, that.
To put my mind back in that place. I was twenty seventeen. We did five records that year, which was inside very insane. It was like very fun though, and definitely learned a lot over that time. We had started like a lot of these songs, and we'd recorded like a decent amount of material in twenty sixteen too. I think there's probably some stuff recorded for that year in twenty fifteen as well, and they were all were sketched
out by at least early twenty sixteen. So it's cool, like we didn't make five records and release all of them within twelve months.
We just released them in twelve months.
But as we started to release all these records, I did start to feel uncomfortable about asking people for money or asking people to buy shit constantly.
It's just not why.
We do it, Like truly, it's really not why we do it. And I just would never want that to feel like the motivation. I think it would just instantly.
Crush the whole project.
And I just felt I was feeling extremely grateful that we were playing shows and people were coming, and I just thought, I don't know, like I think, I think everyone's doing enough. Like we've already we're already selling four albums, So it made sense to make the free one Polygon Duine Land, and it was the obvious thing to do.
A free one. Polygon Duine Land was the one we chose because out of the five we're doing that year, it was the one that felt like, I know, I keep saying this word considered, but it's the only it's the only word I can think of using. It's the word I've used to describe that record since the very start. But I think it's because it's less haphazard, and it's it's much more it's much more slow brushstrokes and kind of just thinking about the whole puzzle.
Before we started, I.
Think we thought in our heads it would actually be more stripped back than it ended up. But I think we realized that you can add, you can eat, you can add more layers than you think while still hearing each one and making sure they're still serving a function.
But anyway, we started talking about doing this, doing this thing free, and basically everyone we work with, which wasn't many people at that point and still isn't a huge amount of people, but everyone was like, oh, can you just do like band camp, like pay what you want or why don't you do you know, why don't we just press like, you know, like a thousand copies and then maybe like make it a free download or why
don't you just do this or that? And I was like, no, like it's free, Like how free can we make this? You know what's it's like literally free, Like it's not mine, it's not ours, it belongs to the universe, belongs to the world. And so it was sort of like an experiment in how truly free can you make something? And surprisingly hard and like surprising amount of hurdles to do that thing, but we tried our best, and it sort of inspired this whole bootleg that we've been doing.
Have you seen any copies that people put out or put together like out and about on tour or have you come across the record in these different ways that people have distributed it.
I've seen so many, Like I would have seen at least one hundred different ones, like maybe two hundred different versions of Polygone to my Land. Occasionally I will check discogs and see how many it's gotten up to, but it's like several hundred logged separate variants from different labels.
Yeah, we need to lock outs. I don't think we've logged outs on discog. I'm going to do that. I'm going to do that to.
More right, Yeah, do it and take a deep dive of like some of the crazy shit that people have made.
It's like it's it.
I really can't get it, Like I really can't get it around my head, can't get my head around it that we actually made that record, because it doesn't it truly just doesn't feel like ours.
And I have all these like really.
Beautiful and strong memories of making the record, but as soon as that was done, it just kind of feels like something that's always existed, you know.
So Yeah, it's like one of my favorite things we've ever done.
I feel very like it felt like an experiment gone right.
Yeah, absolutely absolutely. We should talk about the Silver Cord because you know that's that's about to come out. We've we've skipped it. We've skipped you know, a whole bunch of records here, but we you know, we we'd be here all day. So I mean, once again, with this record, you've tried something completely new, like set yourself a new challenge. This is like an electronic record. You've put down the guitars. Have you fully put is it fully? I mean I've
listened to it. I've got I've listened to both versions of it, which I was going to ask you about as well. But the I couldn't hear any guitars, but I know that maybe there's some hidden in there that sounded like simps or is it just you guys are playing some emphasizes at electronic drum kit and that that is every sound that's coming out of this record.
Yeah, that's yeah, that's that's it. There's no sort of guitars or do we say acoustic drum kits? You know, drum kits When people think about drum kits. There's none of those. There's none of those in there.
Where did this idea come from? Because you know, every record that you've made has had this very unique sort of heart to it of we're going to try and we're going to make a jazz record, We're going to make a microtonal record, and an acoustic instrument only record, a metal record.
I suppose like the few kind of like things that converged into leading us here was.
We did. We did.
We did want to do an opposing forces two albums kind of thing this this year, which was something that we had talked about for a while of doing something like that again. And with Petrodragonic and with Silver Cord, they were like worked on at the same time, so we did want to make sure that they didn't interfere
with each other. But there are actually a lot of kind of links between them that felt important when we're making them, and maybe like it's more kind of birth from the same womb but become sort of two different sort of.
Creatures in the end.
And we were very keen to do like another metal leaning record, so we wanted to make sure we were doing something else that was not that. But I think thinking about Butterfly three thousand, which when we made that record, that was the most electronic thing that we'd done at that time. But that was made during COVID and it was mostly I mean it was it was almost entirely made without being in the same room as another person
really at all. And so we kind of leant into that with that record, and everything is just overdubbed and you know, laid one thing at a time and sending files around to each other and just kind of leaning into that as a vibe.
And it was for us at that.
Time, very electronic, but you know, because of the way that it was constructed, when we got together and tried to figure how to play these songs, it was just like a fucking nightmare. It was just it was so so, what's the what's the opposite of intuitive? Whatever that is is what it was.
It was just it was just, yeah, counterintuitive.
Maybe not even that that doesn't quite feel feel right either, But and I feel like I've got a fair amount of discipline in my life in certain areas, but when it comes to rehearsal, I'm hopeless.
Like I just I just hate it. I just can't wait for it to be over.
And so with Butterfly, unfortunately it felt like a bit of a casualty, you know, like Butterfly Live. Maybe it just felt like in order for us to just move on and just like make the next record and just like not spend all of our time like thinking about this Synthipeggiator in thirteen eight, like we need to just like put this to bed. So that was just that felt that kind of hurt, you know a little bit, and sort of maybe didn't feel like we'd done that
album justice. And I do feel like we do need to spend some time on it and go back there. And I think, well, I know eventually we will. I don't know how long that's going to take, but eventually we will play a lot more of those songs live. But anyway, since then, it's just been a nagging feeling to make something that's electronic leaning but also just made live, like made by us in a room.
Did you all have simp skills? Was everybody turning up like, actually, you know, I know, I know I'm that basis, but actually I'm actually very good on keys or were you all figuring that out?
We've like everyone the band plays keys at least a bit. Actually, Lucas is probably the best piano player, and he's a bassist, so you know, it is it's sort of Yeah, everyone in the band's a multi multi instrumentalist in their own way, so that that helps to at least kind of have the the architecture of the of the of the notes sort of like working. But none of us are Shredders in that way at all, and that's not what this
record is. But the way I wanted to approach it this time was for it to feel like to us as much like it does at a show when we're improvising, like we're in we're in that space, which is much more of the show now than it used to be, where it's just completely spontaneous and we don't know where we're going and we're just making music on the spot,
and that was where the record was made. So we tried to find that same niche and I think think I did say this in the press release, but we were talking about playing our instruments.
Like they were guitars and like they were drum.
Kits, and and you know, Lucas, for instance, who's the bass player in in Gizzard, He played the bass like keys like he played the bass synth. You know, he's still he's still in that space. And I think the way it came together was when it worked, And it did take us several days of like making music together in this way before we made anything that felt like
we should keep it. When it worked, it was us in those same niches that we are on stage and that we know well, and we're kind of listening to each other and feeling it in the same way that we are on stage without guitars that we know how to play and we feel comfy on.
And there are two there are two mixes of it. There's like a twenty eight minute version and there's a one hour twenty eight minute version.
Yeah, and that was that was not something that was initially planned. Well, one thing we were thinking about when we recording was we wanted to find those moments that I suppose we call endless boogies, but those moments where you feel like you're just in it and you could kind of play the same thing over and over again and just just be in it like it's you just it's very hard to kind of like write something like that.
You just have to do it, you know, And sometimes you have an idea or a riff or a coord progression or something that you are so sure is going to be an endless boogie and until you play with everyone you realize that it's not. But anyway, we spent the whole recording session really trying to find those moments and then when we're in them, to just live in them and be in them and like, you know, occupy
that space. And so that was sort of like I guess that nugget of what we're trying to come back to when we're recording, But you know, we still I still wanted to experiment, well experiment sounds like a funny way to put it, but experiment with like traditional song
song structure too. And it became pretty obvious like even when we're recording that we should make two albums here, like this is a we should we should still do this kind of like quite condensed everything to the point no meat sort of version of the album, and then like let's let's like occupy that space and let's do like a longer version where we just let this ride and like be in it.
It's cool because there's two that there two there very sort of different experiences whilst being the same song, like sort of stretched out and like the short versions sort of just like all the hooks crammed in completely lean, and then the other one is something that you can sort of just completely get lost in. I think I probably know the answer to this now, having spoken to you. Tell me not that I want this to happen. I
should say, I'm going to prefix it with that. But is there any sort of idea of how King Gizzard comes to an end? Because one, I've got an idea for you, but also because everything's everything feels so sort of purposefully planned, you know, I know, like there's a big element of the band that is improvisational and you're seeing where it goes and where you are now is I can't imagine you imagine that would ever be the
case when you started ten years ago. But because all of like the records are so sort of thought out, I feel like when it ends, whenever that is one hundred years time, whenever it is like there needs to be I can't imagine you being a band basically that just sort of go oh, you know that record like that, Okay, that's going to be the last one.
Hard to answer the question, truly, I think in the in I want to say the earlier years, but honestly, like I still sort of feel I still sort of feel like this.
I do feel like this when I search my soul. I feel like I've.
Spent most of my adult life doing this band, and I've spent most of that time feeling like it's all about to wrap up and fuck, I'm just gonna have to go and get a real job, and like, holy shit, isn't that like just the most unbearable thought. I don't know what I'm going to do? Like, holy fun, what am I going to do?
This is a disaster, Like I can't. I can't do that.
And so I think it probably has been like a slightly motivating factor and just doing heaps of stuff while it feels like it's working, and and so in that, in that way, I feel very extremely grateful that I'm able to do it, and like people turn up to shows and.
And like buy our stuff.
That's just allows us to do this, you know, full time, which is yeah, I just feel extremely grateful for I know a lot of people would kill to have that opportunity.
So I guess what I'm saying is that.
I still feel like I feel like if people are coming and if people are taking interest in.
What we do.
I'm pretty sure we're just going to keep doing it. I think I'm not really one hundred percent sure about that, but and I might not have said that a few years ago, but it's starting to feel like something that will just continue until something causes it to stop, you know. But it's feeling like that thing probably won't be me.
You know.
I'm not really sure about that. But that's where I'm at right now.
Because my idea is, let's say you get to one hundred, you make a hundred albums, which, let's face it might be five years away at this rate. You then play you do one hundred nights somewhere, and you play an album a night for one hundred straight nights, and then then that's.
And then I jump off a twelve story building.
Yeah, let's not think about the end right now. One final question for you is how long do I have to get this podcast up before the silver Cord, which is still a week away at the point of recording, is no longer the album you're promoting and the most recent kin gives a record.
I truly don't know the answer to that question.
So I've got a bit of time I don't need to rush.
I think you'd be fine. I think you'll be fine. Yeah.
Midnight Chats is a joint production between Loud and Quiet and Atomized Studios for iHeartRadio. It's hosted by Stuart Stubbs and Greg Cochrane, mixed and mastered by Flow Lines, and edited by Stuart Stubbs. Find us on Instagram and TikTok to watch clips from our recordings and much much more. We are Midnight Chats Pod.
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