By Azzam Bilal 
HangupsMusic.com – NEW YORK, King Gizzard & the Lizard Wizard, the relentlessly prolific Australian psych-rock juggernaut, have never been a group to settle into a comfortable groove for long. Just as fans began to digest the symphonic and experimental textures of their early 2025 offering, Phantom Island, the band has once again pivoted toward a radical new sonic horizon. This week, the Melbourne six-piece officially unveiled "Alien Metal," the title track and second glimpse into their upcoming foray into the world of high-intensity electronic dance music. The announcement confirms that the band’s 28th studio album is on the immediate horizon, promising a complete departure from the guitar-driven garage rock that first defined their global ascent.
The release of "Alien Metal" follows the rhythmic breadcrumbs left by "Level 5," a single released last month that signaled the band’s growing obsession with sequenced percussion and synthetic textures. While King Gizzard has dipped their toes into electronic waters before—most notably on the polyrhythmic Butterfly 3000 and the extended synth-jam odyssey The Silver Cord—this new material suggests a much more visceral, high-energy immersion into EDM. "Alien Metal" functions as a manifesto for this new era, blending the band’s signature chaotic energy with the precision of modern dance music. It is a track that feels engineered for the strobe lights and sweat of a warehouse rave rather than the dusty plains of a psychedelic festival.
At the heart of this transition is a massive, complex piece of hardware that the band has integrated into their creative DNA. The upcoming LP, which is slated for release "later this summer" via their own independent imprint, P(doom) Records, was composed and recorded almost exclusively using a sprawling modular synthesizer rig. Known for their collaborative and democratic approach to songwriting, the band has spent the better part of the last year taming this electronic beast. The Eurorack system, which the band has affectionately nicknamed "Nathan," has become a central figure in their live performances and studio sessions alike.
The shift to modular synthesis was not merely a change in equipment but a fundamental shift in the band’s philosophy. Frontman Stu Mackenzie, often the primary architect of the group’s evolving sound, described the process of working with "Nathan" as a transformative, albeit grueling, intellectual challenge. Mackenzie noted that the move to the Eurorack rig—a suggestion originally championed by bandmate Joey Walker—required him to essentially dismantle his entire understanding of music theory and composition. "It completely rewired my brain," Mackenzie admitted, reflecting on the steep learning curve associated with patch cables, oscillators, and voltage-controlled filters. He expressed a desire to "forget everything" he knew about music in order to relearn the craft through the lens of a machine that offers infinite possibilities and zero safety nets.
This "relearning" is evident in the architecture of "Alien Metal." The track lacks the traditional verse-chorus-verse structure that even King Gizzard’s most experimental rock tracks usually adhere to. Instead, it builds upon a foundation of interlocking sequences and evolving timbres. The "metal" in the title isn’t a reference to the heavy metal genre they explored on Infest the Rats’ Nest or PetroDragonic Apocalypse, but rather a descriptor of the cold, industrial, and shimmering textures produced by the modular rig. It is music that sounds like it was forged in a vacuum, oscillating between moments of claustrophobic tension and explosive, danceable release.
The announcement of the new album and single comes as the band prepares for a massive late-summer tour that highlights their dual identity. Next month, the group will descend upon New York City for a high-profile residency that showcases their versatility. They are scheduled to perform a three-night run at the legendary Forest Hills Stadium, a venue known for its rich history and massive scale. These shows are expected to feature the career-spanning, improvisational sets that have made the band a staple of the modern jam-band circuit. However, the true centerpiece of their New York visit may be the following night. On August 23, the band will transition from the stadium to the industrial atmosphere of Brooklyn’s Under the K Bridge Park for a dedicated "Rave Show."
The "Rave Show" represents a significant milestone in the band’s live evolution. While they have always incorporated electronic elements into their sets, this performance is being billed as a full-throttle immersion into their EDM material. Under the K Bridge Park, located beneath the Kosciuszko Bridge, provides a gritty, urban backdrop that perfectly complements the aesthetic of "Alien Metal." It is a move that mirrors the band’s desire to constantly challenge their audience’s expectations, forcing them to trade their mosh pits for dance floors.
The band’s relentless pace shows no signs of slowing down as they look toward the autumn. Following their North American engagements, King Gizzard will return to their home turf for an Australian tour in October. The homecoming trek will see them visiting smaller, more intimate venues like Anita’s Theatre in Thirroul before hitting major hubs in Sydney and Melbourne. The Sydney leg of the tour includes a double-header with performances at the Hordern Pavilion and Liberty Hall on October 14, while the tour will culminate in a two-night "Croxton Block Party" in Melbourne. These Australian dates are expected to be a victory lap for a band that has spent much of 2025 redefining what a "rock band" can be in the modern era.
The upcoming 28th LP also marks a significant chapter for P(doom) Records. Since moving away from their previous label structures, the band has utilized P(doom) as a vehicle for total creative autonomy. This independence has allowed them to release music at a rate that would be impossible under a traditional major label system. By controlling every aspect of their output—from the recording process on "Nathan" to the distribution of their vinyl—King Gizzard & the Lizard Wizard have created a self-sustaining ecosystem that thrives on experimentation.
As fans look back at the band’s recent history, including the critically acclaimed Phantom Island, the arrival of Alien Metal serves as a reminder of the group’s internal restlessness. Phantom Island, reviewed earlier this year by Alex Robert Ross, was praised for its intricate arrangements and thematic depth. To follow such a record with a modular EDM album is a bold move, even by King Gizzard standards. It suggests a band that is less interested in building a legacy and more interested in the immediate, tactile thrill of discovery.
For Stu Mackenzie, Joey Walker, Ambrose Kenny-Smith, Cook Craig, Lucas Harwood, and Michael Cavanagh, the journey into electronic music is not a detour but a destination. The "Nathan" rig has become a seventh member of the band, a mechanical collaborator that pushes them into uncomfortable, exciting territory. As "Alien Metal" begins to circulate through the digital ether, the message is clear: King Gizzard & the Lizard Wizard are no longer just a band; they are a laboratory. Whether they are wielding Gibson Holy Vs or Eurorack patch cables, their mission remains the same—to explore the furthest reaches of sound and invite their audience along for the ride.
The upcoming "Rave Show" in Brooklyn and the subsequent Australian tour will be the ultimate litmus test for this new direction. If "Alien Metal" is any indication, the results will be loud, unpredictable, and entirely unlike anything else in contemporary music. As the summer heat peaks, the "Gizzverse" is preparing to trade the fuzz pedal for the oscillator, proving once again that in the world of King Gizzard, the only constant is change.
King Gizzard & the Lizard Wizard 2025 Tour Dates:
08-14 Buena Vista, CO – Field Of Vision II Festival
08-15 Buena Vista, CO – Field Of Vision II Festival
08-16 Buena Vista, CO – Field Of Vision II Festival
08-20 New York, NY – Forest Hills Stadium
08-21 New York, NY – Forest Hills Stadium
08-22 New York, NY – Forest Hills Stadium
08-23 Brooklyn, NY – Under The K Bridge Park (Rave Show)
10-13 Thirroul, Australia – Anita’s Theatre
10-14 Sydney, Australia – Hordern Pavilion
10-14 Sydney, Australia – Liberty Hall
10-17 Melbourne, Australia – The Croxton Block Party
10-18 Melbourne, Australia – The Croxton Block Party
