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Mushroom Giant

Mushroom Giant is an Australian instrumental band specialising in original progressive post-rock. 

The band that became “Mushroom Giant” evolved over time rather than any moment of creation. Founding members David Charlton (guitar), Craig Fryers (bass), Trent Horwood (drums) began jamming together as youngsters in 1995 and didn’t adopt the Mushroom Giant name until 2003, just prior to debuting their first album, “Rails”.

Central to the band’s style from the outset is the willingness to improvise and allow all members to add to the creative process, with song ideas plucked from the bits yield character. Never a band to imitate anyone else’s sound, Mushroom Giant prides itself on being an honest reflection of the four members that perform it.

In 2004, Mushroom Giant played the Queenscliff Music Festival and then Phillip Island’s Pyramid Rock Festival on New Year’s Eve 2006 (with the likes of Karnivool, The Living End and Silverchair). 

In 2008, Mushroom Giant released their second album “Kuru” on which they truly defined their sound. This album follows a theme set by a Whitley Streiber penned horror novel after the band was commissioned to write the score for the stage production. The opening track Graven Image had some airplay on Melbourne’s Triple J radio and was used in a promotional video for the Bell’s Beach Surf Classic, giving the band some much needed exposure. 

“Kuru” was then followed up in February 2010 by “Antarctic Angel” featuring five tracks with vocals by long-time collaborator, David Gogerly (Blackseed, My Old Dutch). They proceeded to enjoy the rest of that year playing shows, writing and touring as a 5-piece. 

In 2014, Mushroom Giant supported US instrumental rockers Pelican and soon after were back in the studio finishing off their third full-length album, “Painted Mantra” (released via Bird’s Robe Records in 2015). Recorded at Toyland Studios in Melbourne and mixed by Adam Calaitzis, featuring cello by Rachel Samuel and violin by Aaron Barnden.

“Painted Mantra” is undoubtedly their best record to date. It features nine instrumental tracks beginning with crowd favourites, The Drake Equation and 400 & Falling and concludes with the ambient intensity of Majestic Blackness, with all the best of Mushroom Giant’s signature uniqueness in between. The album cover features long-time friend Dana Roskvist (Sydonia) partially morphed/crucified on a petrified tree.

In 2015, after playing a capacity crowd at The Espy’s annual Rock The Bay festival, Mushroom Giant was honoured to play support to British rock legends, Uriah Heep. A highlight for a band inspired by ’70s guitar rock.

Mushroom Giant continues to write and perform and is currently planning to tour and promote their music internationally.



“Entering the Gershwin room at The Espy for the first time, I notice local act Mushroom Giant setting up their equipment ready for their set. Their psychedelic-metal vibe and complete array of songs was an experience to say the least. The first thing I noticed was that this band was experienced and definitely had a large following. They really knew how to create an atmosphere that would enchant the older audience. This started with the visuals – it was really something else. The backdrop began with a journey through space, accompanied with the lights ranging between magenta and baby blue, giving an experience that was not just aural but took you on a visual journey too. Songs like “Woman Heroin” and “400 and Falling” were the crowd favorites at Rock The Bay, with people grooving along at their own pace with organic fluid motions. A spectacular show from Mushroom Giant! I did not expect such an intense vibe. It was incredible.”


“The remarkable album centerpiece Scars of the Interior clocks in at over 13 minutes and finds the band at their epic best. The song passes through distinct seasons, each hinting of loss, hope, and redemption. It really is an impressive piece of art and is worth the price of admission on its own.”

“‘Painted Mantra’ takes the listener on a journey across epic and surprising soundscapes, ups and downs, twists and turns, intensity and atmosphere. You can slot it into the convenient ‘post rock’ box if you really need to, but it essentially exists in the ‘Mushroom Giant’ genre.”

"Their vivid, cinematic soundscapes call to mind bands such as Jakob, Earth, Mogwai – but their style remains broad and malleable, entertaining a vast number of influences far beyond the standard cliches. At any given moment the calm, collected piece the band is solemnly strumming out might take a jarring diversion into a burst of distorted black metal, or slip deep into a doomy Morricone-esque spaghetti-western number – and this is really what makes this band special; they succeed in pooling a vast number of styles and influences together, further complemented with a strong songwriting ability and a penchant for progressive experimentation.”

"The reinterpretation of ‘Shadows’ into ‘The Shadows Under The Skin’ ... with Gogerly’s vocal structures beautifully interwoven in the dark and edgy track, and thus earning itself a place as one of the definitive highlights of the EP."

"This is the most I’ve enjoyed music today. It’s like a soundtrack for when you leave your body. I nearly go into a trance. Mushroom Giant are shaking me out of my coma – interspersing metal shredding and catatonic blackness – fast and loud – effectively, scaring the shit out of me in the

"Crescendos are used to great effect throughout Kuru to build tension and elevate mood ... The gentle, light-filled first part to Kuru is just the calm before the storm. The track Kuru holds a thunder-filled Sabbath drone while Poor Tom is truly the eye of the storm.

“Kuru is a truly deep album, one not easily judged after a single listen, but one that becomes more rewarding with each listen. Give it the time and space it needs to show itself to you, and the album's beauty will make itself evident.”

“Their sound sits right on the line between rock and metal, spacey and earthy ... great variety in the album, probably best shown in “Poor Tom,” which quickly switches from shred metal to spacey ambience again and again. Easily the heaviest song on the album”