Album Review: King Gizzard & the Wizard Lizard - Ice, Death, Planets, Lungs, Mushrooms and Lava

I ventured down to the first public Album Listening Club session hosted at the Attenborough Arts Centre. One thing I had missed doing was investing time to listen to music that was new to me. To be given an opportunity to be in a space with others, where the only goal is to listen to a full album uninterrupted was just what the doctor ordered. I haven't reviewed music like this in a while so bear with me while I warm up the brain cogs and remember how to do this.

Today's album was Ice, Death, Planets, Lungs, Mushrooms and Lava by King Gizzard & Wizard Lizard. You journey through seven experimental pieces taking a leaf from multiple genres with a wide breadth of instrumental layering and variety.

It opens with 'Mycelium' where we're introduced to general gist of the vocals in this album; they complement the instruments and work alongside them rather than try to outshine them. Each instrument and layer is given a similar amount of attention and importance. Tonally the album begins in a more light-hearted and playful manner, with upbeat percussion. Pieces as layered as these had me asking myself multiple times "wait, what instrument made that sound?", more specifically "was that an electric guitar or a steel pan? Was that a cow bell?!". Didn't know I'd be playing Guess Who today.

'Ice V' was fine mix of rap, jazz, gospel and more. Melodies and phrases were shared between the ensemble, allowing the listener enough time to digest each one before evolving into the next. It felt like a stream of consciousness rather than being constrained to a three minute piece. The layers pop in and out, but when they're mostly out, you're grounded again. I've never listened to a piece where woodwind works with an electric guitar like it did. As the sound thins out, you think the piece is ending but the band said "nope" and bring you straight back into the action for another few minutes. 

Here's where things start to shift. 'Magma' is based in a minor tone with emphasis on bass and electric guitar. The guitar's pitch-bending reminded me of a sitar's which then made me question if a sitar was present or at least the spirit of one because microtonal movements were also dropping by. The walking bass lines were bringing in a jazz or Bossa Nova element until the piece ends quite abruptly and roughly. 

If you need a slice of psychedelia then 'Lava' is where you need to be. With an atmospheric intro where the sounds and instruments are just playing, not necessarily together to create a structure or organised sound, just playing before it finds its feet. We see use of dissonance, contrasting with harmonised vocals that are chant-like and I'm pretty sure I heard a bansuri but could be completely wrong and would be okay with hazarding a guess at this point.

The last few tracks of the album including 'Hell's Itch', 'Iron Lung' and 'Gliese 710' met me at a point where I felt fully settled into the album and just let myself listen, picking up on a few things here and there. For instance, the call and response of the vocals, picking up on the possible bansuri once more and maybe tabla? The chordal and rhythmic repetition gave way for improv with octave shifting. Then there was presumably a harmonica and tambourine, once again reminding the listener of the breadth of sound this album has to offer. Moments of hip-hop and funk weave their way in and then ending on more rock-centred themes.

I was happy to be surprised by this album. I'd rather have gone into this blind, not knowing what I would take away from this. On that note, my biggest takeaway is that I'm entertained trying to guess what is making what sound but also ruminating the uncertainty.

 

My Top 10 Catchiest Cartoon Title Theme Songs

I love cartoons. I love music. What better way to celebrate them both than to list the most catchiest title theme songs. Sometimes the songs are so catchy, I listen to them even beyond watching the cartoons themselves. Let’s get right to it (in no particular order).

Phineas and Ferb

Phineas and Ferb is first up! Nothing beats starting your summer off with “There’s a hundred and four days of summer vacation…”. This theme always got me pumped for the episode ahead and makes for a top tier summer anthem. Bowling for Soup cultivated one of the most memorable theme songs of Gen Z and hopefully beyond.

“Call Me, Beep Me!” - Kim Possible

What’s the sitch with this theme song? Well, it slaps! Christina Milian with the accompaniment of Christy Carlson Romano harmonised one of the catchiest theme songs of my childhood. If Kim Possible’s “Call Me, Beep Me!” doesn’t emanate butt-kicking teen on crazy missions, then I don’t know what does. I imagine this song would be great for a throwback karaoke session with a side of nachos.

Kung Fu Panda: Legends of Awesomeness

Maybe it’s my bias towards Jack Black’s singing and the Kung Fu Panda franchise in general. Kung Fu Panda: Legends of Awesomeness has a theme song that I could just sing anywhere and confuse people with its randomness. Whilst the show itself doesn’t quite live up to the utter masterpieces of the movies, the theme song is one that I struggle to forget in the best possible way.

Johnny Test (Seasons 2-4)

I’m not going to beat around the bush. Johnny Test wasn’t a show that clicked with me. I’d watch it, but very passively. However, its title theme for seasons 2-4 is a stubborn earworm. Ian LeFeuvre is said to have taken inspiration from Green Day’s “American Idiot” for this theme song and I did not know this until recently. Either way, this doesn’t take away from the fact that I find “Three extreme teens and an air-breathing shark / Mega-action, game controller, skating in the park” so fun to sing. 

Sonic Underground

People that know me will probably know how I can’t shut up about Sonic Underground and its theme song. Mike Piccirillo didn’t have to make a tune that was as dramatic as it was, but he did and I’m so glad. The theme is probably the shows most redeeming factor, with the storytelling falling a tad flat due to its short production span between episodes. The theme tune is versatile within the show, popping up every few minutes in different styles. I listen to this theme endlessly and I find it offensive that it’s not available on go-to streaming services!

Lilo & Stitch the TV Series

One that I still blast out in the car today is Lilo & Stitch’s theme song “Aloha, E Komi Mai”. Vibrant and lively, this track is not only a form of nostalgia bias for me, but a reminder that this series thrived beyond the films, combining a fun and upbeat with Hawaiian lyrics. The title sequence visuals only enhance and immerse you in the experience of this wholesome show.

TMNT (2012)

TMNT had has its fair share of reusing its original title theme from the late 80s, which isn’t necessarily a bad thing. TMNT (2012) is a prime example of reintroducing an original title theme in a new way. Incorporating uptempo rapping with smooth and action-packed visuals is immediately captivating. I still don’t know all the lyrics off by heart but every time I listen to it, it makes me want to learn them and brag about it.

What’s New Scooby Doo

Steering away from from its original theme, “What’s New Scooby Doo” by Simple Plan was one that I heard more often than the original, probably because it aired in the era I grew up in. I haven’t seen the show in a while, but now and then I pop this tune on for the funsies! It’s that darn guitar that has no chill in the best possible way.

Fairly Odd Parents

Rock and poppy tracks are great but there’s something about the bombastic jazz theme of “Fairly Odd Parents”. The comical use of rhyming, exchanging dialogue between the chorus and characters themselves. “Floaty, crowny things” is such a Cosmo thing to say that you don’t even need to watch the show to understand his personality. I can’t get bored of the transition into the chorus. It really puts a show on, before putting the actual show on.

64 Zoo Lane

Taking it back to the early years, I can never forget what number it is on Zoo Lane now! Not too loud, not too quiet, “64 Zoo Lane” has that perfect balance to ease into bedtime. If warmth and cosiness was a song it would be this. “Sixty-four, sixty-four, sixty-four Zoo Lane” just rolls off the tongue perfectly and it’s so hard to forget.

These are just the few of catchiest ones that have stuck with me since childhood and there are certainly more out there. Which ones have I missed and which have stuck with you? Feel free to comment below! 

Opinion Piece – Behind A Good Video Game is Good Music

Just by adding good music, it can change the entire experience of something. Whether it’s a movie, TV series, or even a party. Without decent music these things won’t be as entertaining. As Alfred Hitchcock said, “33% of the effect of Psycho is due to the music”. Music is undoubtedly important in video games that have storytelling as its main focus. It is the core of the emotion that video games need in order to be successful, whether story-based or not. When I play a video game, it has to have good music that makes me want to listen to it even when I’m away from the console.

One series that I immediately have to address for its ever-evolving musical excellence is The Legend of Zelda. Ever since my beginnings with Twilight Princess nearly a decade ago, some tracks have stayed with me to this day. Twilight Princess, composed by Nintendo’s dear sound director Koji Kondo, is one of the darker games of the series and it is shown through the use of sombre chorus in various tracks throughout the game. The use of such a chorus is also found in games such as Halo 3, pretty much the only first-person shooter I ever used to play. The main title piece, Luck, still manages to give me goosebumps even if I don’t fancy playing it anymore.

Breath of the Wild, winning ‘Game Of The Year’ in 2017, was praised for being one of the most beautiful open world games. Of course, the entire open world experience wouldn’t be complete without its mesmerising and epic pieces composed by Manaka Kataoka, Yasuaki Iwata, and Hajime Wakai. From minimalist piano-based pieces to jolly accordion themes, these composers knew what was needed for one of the most anticipated games of 2017, from one of Nintendo’s most renowned franchises. The Elder Scrolls V: Skyrim, another popular open world game, was composed by Jeremy Soule, who has been dubbed as “the John Williams of video game music” which makes more sense as he also composed music for Harry Potter and Star Wars video games. I have never played Skyrim myself, but I understand that it did have a mass appeal and the music was very much appreciated by its fans. The composer was able to incorporate a fictional language into its chorus-driven theme sung by Vikings ready for battle. Having listened to this, I found it convincing and impressive. This is how music contributes to world-building in addition to storytelling which is crucial in the fantasy action adventure genre.

Sarah Schachner won ‘Best Original Score for Video Games’ at the Hollywood Music In Media Awards in 2019 for Call of Duty: Modern Warfare. Again, I have no care in playing first-person shooters. However, I feel that after watching her interview with Pensado’s Place and listening to some of the games’ soundtrack, I can’t help but feel awe-inspired to see a female video game composer who had the opportunity to work on such a large project using mostly technology to produce the soundtrack and be awarded for her talent. She told Pensado’s Place (2020), “I don’t know if I’ve seen many female executives in the gaming industry. I typically work with teams of just 20 dudes”. Despite this, she did comment on the diversity in the gaming industry saying, “I think it’s growing … I think they’re more welcoming”. This was certainly reassuring for someone like me who is also a female that enjoys both music and video games immensely. It would be such a pleasure to see more of a gender balance in the gaming industry, especially with composers.

As video games become increasingly popular amongst an ever-diversifying population, its music is becoming just as important as the music heard in other forms of media. It has evolved into such an essential part of storytelling and world-building that it can immerse the player in the virtual experience and reach its goals of emotional intensity just as much as a typical heart-wrenching movie can. Video game developers have followed after the evolution of film and implemented more of the realism that audiences and game players alike crave in a virtual experience. With this is mind, composers face an even more daunting challenge with the industry’s rapid advancement in technology. It looks like the future of the entertainment industry is video games and as they get better, so will the music.

COSPLAY: THE ART OF DIVERSITY

Cosplay is an art-form that involves people or “cosplayers” dressing up and portraying fictional characters from video games, anime, series, movies and other pop culture mediums. It’s a way for people to geek out over their favourite characters and media. Cosplay can be enjoyed by anyone from any background. There are no limitations as to who can and can’t cosplay. However, this ideal situation is often overshadowed by racist behaviours. Often, it’s these behaviours that can be harmful towards cosplayers of colour making them question whether the cosplay community is as inclusive as they were hoping it would be. 

Discriminatory behaviour is commonly found on social media like Instagram and TikTok, where cosplayers share their work and develop a strong following. If you’re new to cosplay or are looking to better support diversity in the cosplay community, it’s important to know some of the common ways in which racism impacts cosplayers of colour. Sometimes people aren’t aware they’re being racist and don’t mean to be, and racism takes many forms for different ethnic groups. Being aware is the first step in this crucial discussion ahead. 

Being “accurate” is a very harmful excuse 

Blackfacing and cultural appropriation are still ongoing in the cosplay community. Instances where popular cosplayers decide to darken their skin to be “accurate” to the character is very offensive towards Black/darker-skinned people, especially considering the history of blackfacing and the extreme racial tension it caused in the 1800s where white people would perform in blackface to dehumanise Black people. It’s a very sensitive topic for POC cosplayers. Some cosplayers continue to blackface and post on social media or attempt to enter cosplay competitions. One major example of this was in 2019, where avid cosplayer, Alice Livanart black-faced when cosplaying Pyke from League of Legends. She initially won the France Cosplay Cup, only to be banned after being called out for insensitivity on social media.  

From a POC perspective, we don’t lighten our skin to cosplay lighter-skinned characters. It’s about embracing ourselves and being the characters we want to be at the same time. I’ve heard many POC cosplayers say that they’re happy for white people to cosplay POC characters, but don’t blackface/darken their skin for it. This should act as common respect for each other. It’s amazing to celebrate everyone’s cultural and ethnic backgrounds, but you must do so respectfully, as cultural appropriation is definitely not respectful. Comments such as “Naruto isn’t black” are not only harmful, but also disregards the fact that many anime characters, like Naruto, are Asian and not white. This certainly doesn’t stop white people cosplaying anime characters. 

Cosplay is about celebrating a character because you love them, and you can cosplay whoever you want, just think twice before doing so. Ask yourself the questions: Will elements of my cosplay offend anyone racially, ethnically or culturally? It might not just be blackface; it could be a type of wig you wear, like an Afro or a certain cultural outfit, like a kimono, worn in an inappropriate way. It’s always a good idea to do some research beforehand if you’re uncertain.  

 

How the cosplayer feels 

It’s not just racial discrimination that’s present in the cosplay world. Sexism and ableism also take place too and can be significantly harmful if cosplayers (and even members of the public) don’t take this discrimination seriously. To prevent harassment towards female cosplayers in particular, the cosplay community promote “Cosplay Is Not Consent”. For characters that are disabled in some way, it is respectful for non-disabled people to avoid using wheelchairs and crutches in their cosplays especially in venues with disabled services. A disabled person has the right to cosplay an able-bodied character, just as much as a POC has the right to cosplay a white character. It’s about having common decency and respecting all expressions of cosplay. 

Some cosplayers will put endless hours of work into their cosplay and have their own insecurities even before they share their work with the world. They may feel insecure about the way they look in cosplay or how other people might react. It can take a lot of confidence and mental energy for people of marginalised groups to cosplay at large conventions. Adding to that insecurity with hateful comments and behaviours only makes the situation worse for them.  

In an interview with POC cosplayers, Zarah and Ariana, at MegaCon Live Birmingham, we discussed diversity and cultural appropriation from a POC perspective.  

Zarah: When cosplaying a character, they have to have traits like me or look completely opposite, so that I’m basically method acting as a different person. They tend to be cute, pretty, or even just a different gender. I don’t really have a limit. Just as long as I can escape myself! 

Ariana: I think as long as people don’t colour their skin it’s fine. If it’s a character they respect and admire, they can cosplay them! If I can dress up as a lighter-skinned character, they’re able to do vice versa. Just don’t change your skin colour, unless you’re purple and pink, that’s different! 

Zarah: I’ve definitely seen online where light-skinned cosplayers get more praise when they cosplay darker-skinned characters. Like for instance, Korra from the Avatarverse. I see mostly light-skinned people dress up as her and they get showered with praise. Not that it’s bad, they rightfully are good, it’s just a bit sad when you start to see the inconsistencies of how they’re received. That’s my only issue with it. 

When POC cosplay lighter-skinned characters 

Ariana: When cosplaying a white character, I don’t really feel any different, unless someone says something to me. But, if it’s a character I like, I'm going to dress up as that character! As long as I don’t bleach my skin (jokingly)!  

Zarah: I guess I feel kind of shy and embarrassed. That’s why I didn’t do cosplay for the longest time because, of course, most of it is anime. Most anime characters are Japanese and actually light-skinned. I’m not super dark-skinned but I’m darker than most of my peers and I stand out already. When it comes to dressing up as a character who’s white or light skinned, I’ve not done it and I’m still afraid to do it. I’ve seen people do it and I admire them so much, but the comments! When you’re darker-skinned it feels like every little flaw is exemplified and you have to be perfect. Like size, height, features (like European features). I feel uncomfortable but props to anyone who can do it because I’m too scared. But yeah, I encourage POC people to do it! 

I have cosplayed white characters on multiple times to conventions. This includes characters like Link, Mario, Mabel Pines and Sophie Hatter. I was lucky enough to be featured on 86th Floor’s Video Game Cosplay Showcase live on Twitch earlier this year. It felt like a safe space for anyone of any background to celebrate cosplay and get some positive, non-judgemental praise and feedback. The panel were just super excited to see everyone’s cosplays, even if they didn’t know the characters. I used to think that I could only cosplay characters with a similar skin-tone to mine, limiting myself to a handful of characters. 

Although I may not get the same praise for my cosplay as those who look more like the character, I’m delighted when people ask to take pictures or compliment me. At a Zelda cosplay meet, I was the only one cosplaying Twilight Princess Link, but the other attendees made me feel special for representing the game. Small gestures such as these can go a really long way for POC cosplayers, and they’ll remember them far into the future.  

How can you be an ally for POC cosplayers? 

Ariana: Support them on social media. Maybe boost their views for that certain cosplay. Show love and support, comment, share, like. If you’re with them in person, talk to them, get their social media. I think communication is key! 

Zarah: Don’t try and push any negative agenda around it. Maybe don’t pander. I see that a lot. Just because someone’s a brown cosplayer I see a lot of pandering to seem like you’re a part of the collective. It doesn’t seem genuine. I guess it’s down to the individual but as long as you’re giving genuine compliments and support. Even if in their eyes it’s not the greatest, just share it! 

Media groups such as 86th Floor and Mayamada and campaigns like “Do I Look Like A Gamer?” are amazing safe spaces to share your love for cosplay no matter your race or background. You can interact with other like-minded geeks and share your work with the online community. If you’re looking to be a better ally for POC cosplayers, getting involved with these communities and campaigns is a great way to do so.  

Cosplay is for everyone! 

If there’s one thing to take away from this, it’s that cosplay is for everyone. It shouldn’t exclude anyone based on their race, gender, age, sexual orientation, disability, etc. Just like all other art forms, it’s to be enjoyed and celebrated by the amazingly diverse community worldwide. You can cosplay any character you have your heart set on as long as you stay respectful but most importantly, have fun!