Band Bio

King Gizzard and the Lizard Wizard are a six-piece band based in Naarm (Melbourne), Australia, and gradually formed in 2010 out of a group of friends mostly fresh out of high school. They largely fall under the umbrella of 'Psychedelic Rock', and with an always independent and totally DIY ethos, and frequently switch between a drastic array of styles.

Musical Band Members

While Stu is the primary contributor and the foundation of studio composition and demo recordings are usually carried out in a trio with Michael and Joey, the band maintain a democratic process where any member is able to contribute or veto ideas at any stage of production. This works with an independent, anti-perfectionist approach using the materials and space around them. The band have attended ‘writing retreats’ together where album ideas are born, and maintain a shared studio/office space in Naarm (Melbourne) where they can go to work.

Stu Mackenzie

The ‘front’ of the band, lead songwriter, lead vocalist, and steers the creative direction of the group either with album concepts, or the constant evolution of songwriting and instrumentation. Primarily plays guitar and often composes or plays bass in studio recordings; additionally composes with and plays flute, clarinet, and anything with a keyboard. Inspired by or formerly played sitar, bağlama, and zurna.

Joey Walker

The primary of three guitarists, with the occasional lead vocal and songwriting credit, and frequently composes and plays bass in studio recordings. Specialises in electronic music production with a solo project, Bullant, and occasionally performs DJ sets.

Note: As a group, the guitar playing roles tend to revolve and therefore 'lead' and 'rhythm' titles are less necessary. Two guitars often play accompanying melodies, and solos are relatively rare.

Ambrose 'Amby' Kenny-Smith

Occupies a ‘spotlight’ role and provides the group’s signature harmonica wail, and live keys/secondary percussion duties. Has the second most lead vocal and songwriting credits, and occasionally plays alto saxophone. Ambrose is also the principal member of The Murlocs.

Nicholas 'Cook' Craig

The third guitarist and occasional keys player, Cook also contributes the occasional song and lead vocal in his kooky Zolo style. Cook has the solo project Pipe-Eye, and plays bass in The Murlocs.

Lucas Harwood (né Skinner)

Lucas' primary musical role is playing bass live, and occasionally in studio recordings. Lucas is the principal member of Heavy Moss.

Michael 'Cavs' Cavanagh

The drummer, composes and performs all primary percussion duties. Releases solo percussive music as CAVS.

Ancillary Members and Associates

Eric Moore

Eric began in the band as the secondary drummer, usually playing live in unison with Cavs, and rarely recorded for the studio material. He is the founder and director of Flightless Records, who published the band's material for nearly ten years, and also managed the band up until August 2020 when he departed the group to focus on the label full time.

Since the split from the band, Flightless Records is now just one branch of a larger organisation since including Flightless Distro, a product design/shipping fulfilment facility for the Melbourne record industry, and Flightless Factory, a niche interest record store. The band now self-publish under the 'KGLW' label (part of Ochre / Bleep).

Jason Galea

Jason is the primary visual artist for the group, who in turn consider him a de-facto member of the band. He works in many formats and mediums including paint, digital illustration, photography, animation, and sculpture; producing all the album artworks for the band as well as most music videos, merch designs, tour posters and live visuals. He founded the Zonk Vision audio/visual collective around the same time as the band was forming — and as a skater, connected with Ambrose through their local scene before their projects naturally became linked.

Sam Joseph

Sam is the band's dedicated touring sound technician. Better known as 'Boogieman Sam', he is the subject of the song of the same name from Fishing For Fishies and often receives a shout-out from the band during performances (most famously during the Chunky Shrapnel live album, when Stu can be heard crowd surfing across the audience to deliver him a beer).

John Angus Stewart

John is the director of PHC Films, a visual production company and record label based on Melbourne. He has directed several of the band's music videos and most notably the concert film Chunky Shrapnel, as well as released some of the band members solo music projects on the record label.

Jamie Wdziekonski

Jamie is the dedicated band photographer, who produces much of their press material and shoots various live performances. He has a highly distinct style — mostly black and white images with a signature heavy film grain. He has a book published documenting the band's 2019 Europe tour, Chunky; and is an employee of PHC Films.

Michelle Cable

Michelle is the founder of Panache Management, who manage King Gizzard internationally. She is the band's 'tour mom', and has been instrumental in fostering their connections in the US Psych scene with other acts in her circle including: Osees, Tim Presley, Mac Demarco, and several Ty Segall projects.

Paul Maybury

Paul Maybury is a recording Engineer associated with A Secret Location recording studio in Melbourne, and guitarist of alt-rock band Rocket Science. He recorded and mixed King Gizzard's early material up until I'm In Your Mind Fuzz, and mentored Stu in these processes to the point where he can carry them out himself.

Wayne Gordon

Wayne Gordon is an in-house Engineer and Producer at Brooklyn's Daptone Records, where he recorded the band to a full professional quality for the first time for I'm In Your Mind Fuzz, Quarters!, and Nonagon Infinity. This experience was instrumental in the band's ability to set up their own studios, allowing them to independently record music to their own high standard.

Joseph Carra

Joseph Carra is a mastering Engineer at Crystal Mastering in Melbourne, he has mastered every King Gizzard release since Willoughby's Beach. He made the suggestion to base the digital release of The Dripping Tap on the already-pressed vinyl by recording it back off the physical version using his 'insanely high-end' turntable setup.

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