12 BAR BRUISE

12 Bar Bruise and Eyes Like The Sky seem to come up very rarely when KGLW is discussed. Case in point: neither have a review on this site yet. Hell, I initially wasn't even interested in adding these first two Gizzard albums to my collection, as I wasn't that impressed from sampling them on the old YouTube dot com. But since I love some of their later albums so much, I figured I might as well go for the full set. And if I'm doing that, I might as well get the least interesting albums out of the way (don't you hate it when you already went through all the great albums by a band and all you have left are more middling parts of their discography?).

I'm glad I did decide to get this, because it's a lot better than I had initially expected. Sure, there's nothing prog- related here to be found. Based on this album and the recordings that preceded it, you would never guess prog albums like Nonagon Infinity or Polygondwanaland were their future. This is pretty much garage rock with some psychedelic touches here and there. Oh, and it's loud. It's very, very loud. It's probably the loudest CD I have in my collection right now. Is that a problem? Well, if you listen primarily through headphones and have tinnitus you might want to steer clear.

Loudness and an old-school production style is typical for KGLW, but on here it's almost a parody of how they sound on later albums. The guitars here are roaring and feedback-y like you would expect, but the different approach to vocals and the lack of a second drummer might surprise those familiar with later albums. Main vocalist Stu Mackenzie writes almost everything on here, as is usual, and while there's nothing brillant like on later albums, the songs here show that he can come up with some nice hooks and choruses that will stay in your head after listening. But man, can it be hard to appreciate some of them with how rough this album sounds at times. And with how creative later Liz Wiz albums get, it's a bit dissapointing that most songs on here are pretty similar to each other.

That is, they're loud, short garage rock songs with simple lyrics. But there are some songs that add a bit of variety to the proceedings. There's Sam Cherry's Last Shot, a precursor to Eyes Like The Sky. There's Bloody Ripper, which has the least aggressive sound on the album despite the title implying the opposite. There's the title track, which sounds like it was recorded inside the world's most echoey cardboard box, and doesn't sound like it has Stu singing on it (it's not like I can really tell with the song's recording quality). And then there's Cut Throat Boogie, a cut throat boogie. If you're familiar with King Gizzard's 2019 boogie rock album Fishing for Fishies , you won't be surprised that this one's co-written and sung by Ambrose Kenny- Smith. None of these are particular highlights in my opinion, mind you, but these are the primary sources of variety on the record. No, my favorites are the more 'typical' songs on this album. Muckracker, Nein, Garage Liddiard and Sea of Trees have the strongest/most memorable melodies. I would describe them for you, but I'm not creative enough to come up with four different ways to rephrase the first sentence of this paragraph.

If you're a prog fan first and foremost, this should probably not be your point of entry into the Gizzverse. But if you find yourself enjoying KGLW, do yourself a favor and give this humble first disc of theirs a try. I promise that before too long you'll be humming Nein to yourself whether you want to or not.

Rating: 7/10

Highlight of the album: Garage Liddiard

"12 Bar Bruise" is the debut record of KING GIZZARD released in 2012. Twelve tracks under 35 minutes means we get a lot of shorties and none reach 4 minutes. A lot of youthful energy on display here and a definite punk vibe. The sound quality is loud and jumbled to my ears so whether it's the sound quality or the music itself it's a fail in my opinion.

The fact that the Garage Rock sub genre that gets thrown at their early stuff, more specifically this album, is true from the sound alone. The second record "Eyes Like The Sky" is more about narration than music and the third is a Psychedelic album so... Interesting that a song like "Sam Cherry's Last Shot" would be on here being out of place but clearly the band are drawn to the Western subject matter and the next record is all about that so a bit of a hint at what's coming I suppose.

I don't give out many 2 star ratings but this is well earned.

'12 Bar Bruise' is the debut album by King Gizzard & The Lizard Wizard, a wild and unapologetically raw journey into the heart of garage rock and lo-fi psychedelia. Released in 2012, it serves as an introduction to the band's distinctive sound and their fearless approach to experimentation. While it may not be their most refined work, it holds an undeniable charm that captures the essence of their early creative energy. The album's standout feature is its unapologetic rawness, thanks to the unusual way this was recorded with 4 iPhones placed in corners around a garage. This unrefined quality lends the album a unique charm, evoking the atmosphere of a sweaty underground show, it's a testament to the bands ability to channel their energy directly into the recording, making for a visceral listening experience. The lo-fi production quality adds to the album's distinct character. While some may find the rawness off-putting, it ultimately contributes to the album's authentic DIY aesthetic. The deliberately unpolished sound enhances the bands gritty charisma, making it feel like an intimate live performance captured in a garage, much like early records from The Strokes. '12 Bar Bruise' also hints at the eclectic musical influences that would later become a hallmark of the bands discography. From the bluesy riffs of the title track, to the surf rock vibes of "Footy Footy," the album showcases their willingness to dip into various genres while maintaining their signature distorted edge. This diversity foreshadows the bands future forays into progressive rock, psychedelic explorations, folk rock, and beyond. Not to say it is perfect by any means, the album isn't without its shortcomings. The lo-fi production, while adding character, also occasionally muddles the intricate instrumentation and vocal nuances, making some tracks feel underdeveloped. It's clear that '12 Bar Bruise' is a product of the bands early days when they were still finding their musical identity and sound. It succeeds in creating a distinctive atmosphere that draws listeners into its world. The title track, with its bluesy undertones and catchy hooks, encapsulates the album's essence perfectly. Other tracks like "Cut Throat Boogie" showcase the bands ability to craft infectious and memorable tunes that stick in your mind. I thought it was a great debut that encapsulates the raw energy and unfiltered creativity of King Gizzard & The Lizard Wizard. While it may not be their most polished or sophisticated work, it's a testament to their fearless approach to music making and their willingness to embrace imperfections. Fans of garage rock, lo-fi, and those curious about the bands beginnings will find this album to be a captivating snapshot of a group on the cusp of something truly remarkable.

- 8/10