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King Gizzard & The Lizard Wizard

Butterfly 3000

KGLW

Released: 10th September 2021

Colour Vinyl LP£22.99Out of Stock
CD£11.99Out of Stock


180gsm vinyl (lucky dip random of red, blue or yellow vinyl), Printed inner sleeve,
Spined single outer sleeve, Brown paper bag (instead of shrink-wrap), Sticker

King Gizzard & The Lizard Wizard have always greeted creative boundaries with the same respect bulldozers visit upon anything foolish enough to stray into their path. Over 11 years and across their 17 studio albums to date, the sui generis sextet have turned their many hands to luminous acid- rock daydreams (I’m In Your Mind Fuzz), gritty western horse operas (Eyes Like The Sky), never-ending science-fiction song cycles (Nonagon Infinity), dystopian death-metal epics (Infest The Rat’s Nest) and winningly mellifluous jazz-folk (Sketches Of Brunswick East). They’ve even invented their own musical instrument – a hybrid electric guitar sharing much of its DNA with the traditional Turkish bağlama – to explore the notes between the notes (a mission that’s yielded three albums thus far: Flying Microtonal Banana, K.G. and L.W.).

But their 18th album, Butterfly 3000, might be their most fearless leap into the unknown yet: a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. The album sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakeably Gizz, down to its climactic neon psych-a-tronic flourish.

“On Butterfly 3000, we’ve set some parameters we’ve never really touched on before,” says Gizz frontman Stu Mackenzie. “I feel most inspired when
I’m not in competition with myself, and I’m always attracted to ideas that feel utterly new. Maybe that’s an idiosyncratic way to approach music, but
it’s the Gizzard way. I often feel like we’re aliens, compared to how others write and make and look at music.”
The new album follows on from the two Gizzard full-lengths that preceded it, K.G. and L.W., which, though begun traditionally, were completed
during lockdown with the members finishing tracks remotely, as they were unable to congregate in the studio. Similarly executed in isolation,
Butterfly 3000 takes the concept a purposeful step further, recorded entirely in the band members’ own homes, their studio and rehearsal space
remaining out-of-bounds. “The album literally cost nothing,” Mackenzie laughs. “We would share ideas over the ‘net, working on our laptops and
sending loops to each other pieces of music, synthesiser arpeggios and midi sequences, with notes like ‘Can you record this and send it back to me
after feeding it through all those dope patches you made?’”
Creatively, Mackenzie describes the process of the making the album as “a group challenge – like, how do we turn all these weird sequences we have
into songs?” The band adhered to rules which, much like Brian Eno’s Oblique Strategies, placed them firmly but fruitfully outside of their comfort
zones. First and foremost, the band were writing this new material on unfamiliar equipment. “We were messing about on modular synthesisers,” says
Mackenzie, “and as we’re not very skilled at them and don’t have the deepest knowledge of this stuff, we’d get happy accidents – lots of weird,
wrong, broken sounds we flipped and looped and turned into songs.”