“Everyone is like, what the fuck is this?” laughs Stu. “It created a really nice tone for the work,” she says, “and made me feel like I was part of something bigger.”Īs with many of the progressive projects King Gizzard and the Lizard Wizard have released over the years, the reaction to each video has been welcomed by its keen fanbase but with a certain level of surprise and confusion too. Or even, as one contributor Amanda Bonaiuto describes, just knowing a group would invest in creating such a series off of their own backs offered a comforting faith in the industry. As a result, some directors speak of the project as an opportunity to fall back in love with their medium during the difficulties of creating during Covid. For example, the only instruction given to each director was that the film had to include a butterfly – a dream brief for talented creatives to be left the room to do what they do best. The band invited a mix of artists, animators and directors to collaborate, and from speaking to each contributor in detail below, it’s clear the process of creating the series over the past year has boosted the creativity of all parties involved. I think everyone has done such an amazing job of enhancing the music.” “I think for that reason it did really feel right to have a broad spectrum of visual components to it as well. Where previous albums have dived deep into the climate crisis or leant on heavier textures musically, B utterfly 3000 saw the band “try to make something that was rainbow-coloured and visual, as well as musically bright,” he says. The record itself was also an influence, as a particularly “special record to make,” continues Stu. It was also, as Stu describes, an opportunity to collaborate with a bunch of new creatives, those “with incredible skills who maybe aren’t getting to use them as much as normal”. Traditionally a band consistently releasing and touring each year, the initial spark came from a want to fill the void of interaction with fans due to lockdowns. The reasoning behind creating the Butterfly 3000 series developed from a number of factors. They have been the individuals on the end of the line to the eight directors commissioned, offering freedom, support and inspiration on this ambitious adventure. As a band who now self release their records, there is no marketing boardroom team balancing the books on such a project, but instead a group of enthusiastic members keen to collaborate with as many creatives as possible. Just like the variety of genres and lyrical concepts each album encapsulates, the care King Gizzard have provided for their audience has varied in format over the years from releasing one album completely for free, to vibrant live shows, full length feature films and, most recently, investing in creating a music video for every single song on their newest record, Butterfly 3000.Ĭreating a variety of visualisers is a regular occurrence for album campaigns nowadays, but the sheer amount King Gizzard have provided in the past 12 weeks or so, showcases an insane level of work. Releasing no less than 20 records over the past decade – including five whole albums in just 2017 alone – their fans, as lead singer Stu Mackenzie tells It’s Nice That, “are the people who we’ve always catered to”. A rare gem of a group with an intense productivity since they formed in 2010, King Gizzard’s prolific creative output has evoked an obsessive loyalty in a global fanbase, yet they still seem to evoke surprise with each release. It’s fair to say that Australian band King Gizzard and the Lizard Wizard have always been outliers.
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