Videographer-Animator-Photographer Alex McLaren: “I love the outsider weirdo people that are just doing their own thing”

Original photo: Hannah Nikkelson. Handmade mixed-media by B.

Naarm/Melbourne-based videographer-animator-photographer Alex McLaren is the man behind some of the coolest music videos that have come out of Australia in the past few years. He’s made videos for King Gizzard & The Lizard Wizard, ORB, Parsnip, School Damage, Bananagun, Sunfruits, Pipe-Eye, The Murlocs and more. His clips are vibrant, dynamic and psychedelic. We chatted with Alex about his creations, of making skate vids with his friends growing up in a country town and it’s influence on his work, the music video medium, claymation, collage, making a living as a creative, new projects in the works and more.

How’s your day been?

ALEX MCLAREN: I had to go to my mate’s house and feed their cat, that’s pretty much all I’ve been up to this morning.

Nice! Sounds like it’s been a cruisy one then.

AM: Yeah. How about you?

I’ve been easing into the morning. Yesterday my husband Jhonny and I went and picked up a box of 45’s (records) for $10, so that’s always a little exciting. We’ve been going through them this morning. We’re big record nerds.

AM: Cool. Sweet. Any good stuff in there?

There was a Hawkwind ‘Silver Machine’ picture disc and some AC/DC in there, and some funk and soul. The guy we got it off was interesting; he had all of this Elvis memorabilia, including Elvis’ dad’s electricity bill. We love all kinds of music and have music to suit every mood in our collection. We’ve both collected records since we were teens.

AM: Nice. It’s good to have a good mix!

I’m stoked to be talking with you. We love your work so much!

AM: That’s so sweet.

The film clips you make are really cool. We find that whenever an awesome clip comes up from a local band, you’re usually behind it.

AM: [Laughs] That’s cool. Thank you!

Have you always been a creative person?

AM: I suppose. The main way that I got into it was from being into skateboarding growing up. Watching skate videos; they have little animations and stuff, they’re almost arthouse in a sense. That stuff really triggered where I’m at now. Dad would have the family camcorder; I’d end up stealing it to film my friends skateboarding. Through that I got into editing the footage and tinkering around with it.

Do you have any favourite skate videos?

AM: Yeah, for sure. There are so many! Alien Workshop videos, they were kind of wild in the sense that they had a ton of animation, strange little stop motion things. That all influenced me to some degree, even subconsciously at the beginning. I definitely look back at that stuff occasionally and can see how it affected where I am now. Also, with skate videos how quickly they’re edited, all chopped up and short, flashing by really quickly; I think that informed some of how I edit videos. With the King Gizzard [& The Lizard Wizard] one, I’ll have a bunch of visual styles and things changing rapidly, that’s all part of it. Videos from Girl Skateboards company, had little skits and animations. I think Spike Jonze did a bunch of that stuff.

I made a bunch of skate videos with friends and a couple of people who make music, like Nick Van Bakel from The Frowning Clouds and Bananagun, we grew up together in Warrnambool; it’s funny how a lot of people that skated then make music, art and video stuff now. It’s cool to work with Nick occasionally making videos, it’s fun to think that it all stemmed from skating together back in the day. Music interests were pretty eclectic… it’s almost like having a big brother in a sense, opening up a world in terms of music and visual stuff, arthouse 16mm and 8mm animation. I feel like all of that stuff was the initial seed of inspiration and opening the doors to new sounds and visuals.

My brother and I had a skate shop in the mid to late-90s, he’s had skate shops since the 80s, we used to watch all the skate vids, so I can relate. My love of punk and hip-hop in part comes from those vids. What was it like growing up in Warrnambool? You mentioned listening to eclectic stuff; what kind of bands were you listening to?

AM: I guess eclectic, in hindsight it probably wasn’t. But at the time in a country town, skate vids were good exposure to punk, hip-hop and more obscure stuff than what you may get otherwise, playing footy or cricket. Living in a country town anything outside the norm is eye-opening and exciting.

Did you grow up watching the music video show Rage?

AM: For sure. That was a big part of it as well, having Rage, Video Hits, Channel V and all that stuff on Austar (if you can remember that? [laughs]). That stuff was always on in the mornings. There’d be clips where I wouldn’t necessarily grasp into the song and think, yeah, I might not like this artist, but I would be engaged in the video. Spike Jonze doing that Daft Punk clip ‘Da Funk’ with the dog walking around, things like that, that visually stick out.

I really liked Michael Jackson when I was really little. I remember hiring Michael Jackson VHS from the video store.

Same! I still have a bunch of MJ VHS tapes. I joined his fan club too.

AM: That’s so good [laughs]. I used to do drawings of him too, it’d be so funny.

Me too!

AM: Oh wow! I remember this real crap one that I had that I even framed, it’d be so funny to see what it looks like now looking back.

Back then he was one of the greatest artists in the mainstream that the world had ever seen. His artistry will always hold out, despite everything else that’s happened. He was always pushing things forward art-wise. His film clip premieres would be a big deal, remember here in Australia Molly Meldrum would premiere them in a primetime slot.  His 13-minute film clip ‘Thriller’ really changed the film clip game.

AM: Yeah, definitely. ‘Thriller’ is pretty wild. Back then and still to some degree now, people had huge budgets for film clips. It was such a new thing as well, there was such a burst of creativity in the medium. So much money was getting pumped into it and people were coming up with some really cool stuff. It’s pretty easy to go back to that stuff and reference it and think about it.

I read an interview with music video director Hype Williams (who did Tupac’s ‘California Love’ and videos with Nas, A Tribe Called Quest, Jay-Z, Outkast, Missy Elliott and more), he was talking about his career and said that in one year of his career he made forty-four videos and how it was such a golden time with big budgets in the hip-hop world.

AM: Yeah, that stuff was definitely playing a lot around the time I had Channel V and that stuff. In my early teens that stuff would be on all the time!

The other night I saw Outkast’s ‘B.O.B. (Bombs Over Baghdad)’ it’s so wild, visually; everything about it is nuts. It’s crazy cool looking back at it.

Yeah. The director had the edit shipped to India for individual painting of each frame, which gave it that psychedelic look.

AM: It’s just amazing!

How do you see music videos? What is their function in your eyes?

AM: The obvious thing is that they’re a promotional tool. It’s a weird time for music videos because there seems to be that bands have less and less budget but it’s still a promotional tool. If you can make it interesting enough, it’s another way into the artist you can grasp on to. Initially the music video may draw you in more than the song but you keep watching it and you might end up liking the artist more. It’s definitely happened for me. It’s a good accompaniment for the song.

It’s a similar thing with artwork, vinyl, albums—I really like having a visual. If you like the music, it’s nice to be a part of it and create a visual for how you interpret that music itself.

How do you first approach a song when you’re going to make a video for it?

AM: Usually artists will send me the song or a few songs and ask, what do you think? Which do you like? Most of the time they let me do whatever, which is a nice freedom to have. I don’t mind a little bit of direction as well. Usually they’ll send me the song, I’ll listen to it a bunch and whatever it evokes emotionally or visually, I’ll pretty much run with that initial thought. Certain sounds and instruments will remind me of other music or clips from the past and I’ll loosely get a vibe or style from that and go from there. I like when songs have different musical elements and changes, the verse and the chorus are really different or at the end of the song the song will just change completely. It gives you a nice chance to have a completely different visual go along with it. Half the time I end up doing practical stop motion things. Every time I finish a video, I’m like, I really have to not do that again because it’s so time consuming, it is fun though! I always think the next time I should do something I can finish real quick, like live action. I can do that in two weeks and not have to go through the roller coaster ride of being really excited and then thinking, what have I got myself into? Getting excited again. Then getting worried. It’s up and down until it’s done, then I can’t believe I actually finished that!

I noticed in a lot of your work you have the stop motion animation-style and then you also have a collage-style in there too. Where does the collage aspect come from?

AM: I reckon it must be something of growing up and the children’s television that had that style back in the day, and early music videos. I don’t’ feel like I’m technically that savvy when it comes to computers; doing the stop motion seems like a really obvious choice to me, you have something sitting there, you take a photo and then move it and keep doing that until it’s animated and alive. I thought, I can do that. It may seem like a long painful process but it’s doable. It’s an easy process that makes sense in my head. It’s probably a reaction to not feeling technically savvy with software. I use it a lot and I’m probably more adept at using it and animation techniques and computers now then when I started doing stop motion. I think there’s a lot of charm in it though and that’s why I keep going back to it. I like when things aren’t quite perfect, that’s where all the charm lies; things being off, things being handmade, things being human-made, errors, jumps and flickers—that’s where all the magic lies. I always make it feel like I’m doing something new and different, even if it might seem minor in the end product; little steps forward so I feel like I’m evolving. I need to keep things interesting for myself.

Did you have any formal training or education in visual arts or film?

AM: I went to RMIT and did a two-year course of film and television, that was in 2009 when I first moved to Melbourne. Before that, in high school I did stop motion for my Year 12 project, it was all claymation stuff. I would have learnt stuff at RMIT, perhaps more how to use [Adobe] After Effects and programs like that. At the same time, I think what I initially learnt was through trial and error and skate videos. I would have made four or five skate videos with my friends, filming and editing it. And using my dad’s 8mm camera and learning to use that as well. A lot of learning has been through just trying to make stuff. It’s hard to say though, because when I went to RMIT I had just moved to Melbourne, and I was like, oh I live in Melbourne now and I’m out of my parents’ house so I can do whatever I want! I don’t have to go to school if I don’t want to. I definitely learnt stuff at RMIT but most stuff I’ve learnt on my own.

A few years ago, I went back to study. I did a three-year Bachelor of Photography at Photography Studies College in Melbourne. I work in video production (corporate videos and market reports) that pays the bills and video clips I just do in my own time. Working in corporate video production got a bit dry and boring, my partner at the time went and studied photography; I saw what she was doing and heard about the teachers. It made me really want to go back and study photography. Even more so just for myself, not as a move to start a business in photography or anything like that. I thought it would be great to go back and learn as a mature student; I was twenty-seven at the time. It got me thinking of the history of photography, images and what they mean and represent, the eras they’re from, what they’re saying politically, as a response to what was happening in that time. That stuff made me think differently about visuals. Beforehand it was more about what looks cool and interesting and compliments the sound. It gave me more of an appreciation of the thought process behind what images I’m using and how they might communicate ideas.

I’ve always been a more learning through doing person as well. I think doing things that way helps you to develop your own style. Often when people go study, they lose that creative spark or that uniqueness in their work, it gets learned out of them and people start making stuff that’s all the same. Coming from punk and skateboarding, that world is very DIY. With all the art for Gimmie, that’s all handmade inspired by my background in making zines and love of punk art. If you look closely at some of the art you can see the corner of my art desk in the image or some imperfection. I like that you can see it’s physical as opposed to digital, it’s handmade.

AM: It’s great how you can see the edge of the frame in your art. There’s an energy to it, an immediacy you can see in the work, which is something that I respond to. That immediacy is something that I try to create in my own work.

I think that’s partly why I resonate with your work; I can totally feel that in your work. I think if you spend too long on something it can feel tortured and it becomes overworked. Not always, but often. The life gets sucked out of it.

AM: Yeah, for sure. That initial energy and spark is what attracts me to things. In doing something like stop motion, it’s such a long process, initially I’ll be excited about it but after a few days and you have a couple of seconds worth of video, that energy is so hard to sustain for months or weeks to finish the video. That’s the only struggle when applying that to something as tedious as stop motion, keeping that initial spark and energy.

I can definitely see that. Have you seen the stop motion work of Bruce Bickford who did a lot of the Frank Zappa videos?

AM: Yeah, yeah. He’s the best! His stuff is amazing.

Your clips reminded me of his work.

AM: I’ve done some work with Sean McAnulty, my friend who is also from Warrnambool, we discovered Bickford eight or nine years ago. That first ORB video that we did that was all Claymation, it’s very Bickford inspired. I love the outsider weirdo people that are just doing their own thing. Bickford seemed to be working constantly doing his own stuff, if it wasn’t for Frank Zappa exposing him to heaps more people, he probably would have still just been doing his own weirdo stuff in his garage. People like him are so amazing and influential.

That’s my favourite kind of people, the true originals that create art for art’s sake, because they have to, it’s like breathing for them.

AM: It’s important that if you get an idea that you should just go with it and not think too much about it.

Is there anything that you do to stretch the resources that you have to make something look better than what’s available to you?

AM: Everything I do is on a budget, a pretty shoe stringy budget. I think that’s why I like the collage style, it’s so easy to get magazines or go to op shops and get old books and use images from those—it’s cheap, visually effective and interesting. It can be fun to do more animation with my hand drawn cartoons, but I feel like it’s not necessarily my strong point. Using found images is a way around that to create something visually strong and easy. There was a weird magazine that I found in an op shop, a World’s Fair magazine from the early-90s, it had what they thought at the time futuristic-looking things; a lot of that stuff made it into the Gizzard clip. That mag cost me 80 cents and I turned it into this whole other thing.

There’s a real art in doing that. College art has become quite popular, I find a lot of collage artists cut things out and slap them together. The artists I enjoy make something new, make a statement, have a lot of thought behind what they’re doing, there’s layers of meaning.

AM: Yeah. It’s fun to take that stuff and mix it with footage of the bands. You can completely create a new world or fantasy worlds, which I think is really interesting just the juxtaposition between images, maybe something from the 50s against future technologies or really banal stuff. I like working like that. You move the images around and as you see things beside other things, you’ll see new things or a connection between things that you wouldn’t have ever thought of otherwise; that can form other ideas in the video. It’s a fun, open way of working; it keeps it loose and interesting.

Are you inspired by the Dada artists?

AM: I haven’t really delved into the Dada movement much; I have been meaning to. I went and saw an exhibition at NVG [National Gallery of Victoria] a few years ago and there was a small section of the Dada movement and I was really interested in the stuff they were creating, it resonated with me. I feel like I’ll definitely get a lot of inspiration from it.

What’s a video you really enjoyed working on or that was challenging for you?

AM: I feel like they’re all challenging in different ways. Every time I finish filming a video, I feel like I don’t have anything else to give, in terms of that being everything I was interested in at the time and I can’t even imagine what I would do for another video. Getting excited about something will be all the spark I need to get started on the next thing though.

I really loved the Parsnip ‘Rip It Off’ clip you made.

AM: Oh yeah? Cool.

It’s pretty magical!

AM: That was fun! It was the quickest video I’ve made in terms of turn around. We shot in a day pretty much. I went to Geelong and they had some spots, we went first thing in the morning. It was so nice to shoot live action with natural light. When I finished doing it I thought, I need to do more videos like that. It’s almost like making skate videos back in the day where you can film some tricks and it’s ready to go as soon as you edit it.

The U-Bahn ‘Beta Boyz’ film clip is really fun too.

AM: Yeah. I kind of forget all the clips I do [laughs], especially with the last year being so weird with lockdown. I really like the last ORB video; ‘I Want What I Want’ was fun to make.

How amazing is that song?!

AM: Yeah. They wanted me to do a different song before that one, then they released the song and I feel like it’s not as fun to do a clip for a song that’s already released. It’s more exciting for me if people see the song with the video; it gives it more punch. Everything is usually fun and stressful at the same time.

The new Gizzard clip [O.N.E.], being locked down at the time, it felt stressful but I’m pretty happy with how it turned out. It’s got a big audience, so it’s nice that people get to see stuff.

What did you stress over?

AM: If it’s going to look good! [Laughs]. Is it going to work? Will the band think it’s good? There’s always that concern that they might think it just sucks! Because the process is working in slow motion, your brain has so much time to think, oh, this is good or this is so shit; how am I going to make this work? It’s a blessing working at such a slow process in terms of stop motion that if something doesn’t feel like it’s going right it might be a 24th of a second and then by the end of that second, you’ve corrected something that you didn’t really like and no one will ever notice; that’s a nice thing about stop motion, you can change something that isn’t going the way you like it.

How long did the new Gizzard clip take you?

AM: [Laughs]. A few months during lockdown, I definitely spent full days working on it.

Do you move on from things quickly that aren’t working out in the creative process?

AM: I usually get hung up on it. Most of the time because I spent so much time on it, I find a way to rescue it or still use it but recycle it and use it in a different way; I’ll cover it up a bit or use it with something else, layering it. Nothing kind of ever gets disregarded. Pretty much every mistake has made it in. I mask or change it, make it sit a different way or in a different part of the clip. If it was terrible though, I’d just face it and bin it.

What are you working on at the moment?

AM: I’m finishing up a Murlocs video in the next couple of days. It’s live action-based with a tiny bit of animation. Maybe a Pipe-Eye video. I’ve just started talking to him [Cook Craig] about it. I really like his stuff, it’s strange and interesting and lends itself to interesting visuals. He sent me the album the other week. He was like, “Any ideas?” There’s one song I really love and I sent him back a few ideas and he said he was thinking along the same lines too. Working with people like that and being on the same page makes it super exciting! I have to see what happens schedule-wise. After last year I wanted to hang out with people more and be more social again now that we can… but then you get ideas and you’re like, I really want to do this! Then you start doing stuff and you can’t go see anyone, you get obsessed with making it as good as you can. You want to get it to a standard where you can put it out into the world and not be embarrassed by it.

Last year was definitely a time to revaluate and think about how you can use that time. If anything, it gave me more time just to do what I was doing anyway, but not having to go to the office and do my more commercial stuff. Working in that commercial side of things, I think my video clip work is a reaction to that side of things; I want to get as far away from that world as I can. It’s nice after doing something boring and corporate at work to come home and do something that’s totally opposite; to take the banality of that work and add humour into my own work, to process and channel it and make it interesting. Does that make sense?

Yeah, for sure. My whole life I’ve pretty much had a day job and then done all the creative stuff for love in my own time. There are times when I have done creative stuff, like writing, as a job and I ended up hating it, it wasn’t fun anymore.

AM: It’s a funny thing trying to find the balance between worlds. It can keep you on your toes. Having that job that’s a drag can push you to pursue what you want in your own time and be more creative.

I always find myself at my day job thinking about what I’m going to make when I get home. At work my brain goes on autopilot sometimes and my creative mind is constantly going. When I get home, I’ll work late into the night or get up super early before work and do stuff because I’m so excited.

AM: Oh yeah! Totally. The only thing is hoping that your body doesn’t get too weary in the day that it can keep up with your brain’s excitement.

I get that!

AM: Yeah, it’s hard. Sometimes when I get home it’s like, I’m just going to chill out for five minutes and when I do that my body is like, this is good and you just take it easy. You have to keep chugging along and making it work.

Is there anyone you’d like to make a clip with?

AM: Yeah! It’d be cool to work with Cate Le Bon, Total Control, or Weyes Blood. I was excited to work with my friend Sean on a White Fence clip a couple of years ago, because White Fence, and Tim Presley as an artist, is a favourite. I’d love to keep branching out into different scenes and different genres. As long as it keeps feeling new and gives me a chance to try out different styles. It’s cool to work with new people.

Please check out @alex__mclaren

Californian musician & artist Lealani: “Everyone should be working together, helping each other, sharing ideas and having fun”

Photo: courtesy of Lealani’s porfolio. Handmade collage by B.

Lealani’s creations are highly original and hit you right in the feels! Her debut album Fantastic Planet was written between the ages of 12 and 19 as she experimented with synths, guitars, drums, apps, samplers, effects and production hardware to create her own universe. It’s a really special record and we voted the record our favourite international release of 2019 our praise of the LP said “It’s like BMO became a real girl by back-engineering human experience from discarded Portishead and Massive Attack tapes.” We caught up with Lealani last week to get an insight into her world.

You really love entertaining people; where did this desire come from?

LEALANI: When I started I actually used to be really nervous during shows. I would just stand there and I would never be myself or super loud in front of people, I was just a really nervous person. I started to perform when I was twelve years old, gradually I just started getting more and more comfortable in front of people. I really like entertaining people because it really gives me a chance to be myself and to encourage other people that they could just be themselves on stage too—everybody could be comfortable in that way. It’s been a learning process and it’s been progress to be comfortable on stage. Now that I am pretty comfortable with myself, I want to entertain more and more people, whether that is through music, performing or making art and making animation as well. It’s all really fun.

Why is art and music important to you?

L: Music and art is way for me to express myself. I love it so much because I just get this certain feeling from it that I can’t really get from anything else; where you feel like you’re in your own world, you’re in your own space and you are where you’re meant to be. I love both art and music because it’s a way to show people the world I am in and that they are all in their own world as well. Music and art is a way to express that world, to represent it to people—to show people this is your world and you can be who you want to be. You are yourself and you know yourself well enough to be that and do that.

I’m with you, I’ve always been a big believer in being yourself and creating your own world. When I was a kid people would pick on me and bully me and I found a solace in music and art and creating my own world and in time I became okay with, and proud of, who I am. Did you ever deal with that kind of thing at school?

L: Yeah. Actually in elementary school, I used to have a really, really high pitched voice. Even though we were all kids, my voice was much more higher than the other kids. I’ve always been a very small person – I’m below five feet, I’m 4’11 [laughs] really tiny – I guess kids were like, ‘whoa! She has a high pitched voice and is super tiny’ and I would get made fun of. Eventually that wore down and I didn’t really have that voice anymore. Not everybody was nice [laughs]. But it’s totally fine, I like singing so, maybe that’s way my voice was high back then!

Who was the earliest musician that influenced you?

L: I Middle School, that was the time when I was getting into music, I was introduced to mainstream music like Katy Perry, I didn’t realise that there was more underground music scene that existed. My dad started slowly showing me that. He used to be a DJ back in the day, he used to mix old school hip-hop records like Wu Tang and other old hip hop masters. He started showing me things like MF Doom. He had all this vinyl lying around. One day he said, “You should try to make music on this app on the iPad”. He gave me an iPad and I got a music application when I was twelve years old and I made my first beat. He was like, “Oh, that’s pretty cool”. He started introducing me to more and more music, he never forced anything on me though, he put it there in front of me to look at, if I liked it… I knew that it was something I wanted to pursue. My dad is a huge inspiration of mine.

The band Portishead, was when I first felt chills on my skin and felt goosebumps—the music was so weird. When I was a little kid I actually used to be afraid of their music because it was so striking to me, now I understand it more. They’re one of my favourite bands in the whole entire world. Portishead was a huge influence on me and the Gorillaz! When I heard them I realised how funky people could be in music, they were mixing it with art and they were cartoons too!

You’re studying animation, right?

L: Yeah I’m currently a Second Semester Junior here at California College Of The Arts studying in Oakland for animation. It’s really fun to learn about how to make better animations.

Your debut album, I know you also had a radio show of the same name, Fantastic Planet; that’s named from the 1973 sci-fi French (La Planète sauvage) animated movie?

L: Yes! It is. I was really inspired by that.

My husband and I really love that movie, he’s a big fan of animation and has made animated film clips, and he always loved the film’s animation. I’m actually looking at the movie poster on our wall right now! As soon as we found your stuff we knew straight away that was an inspiration. How did it inspire you?

L: Cool! That’s so awesome. I love that animation. The first time that I heard of it I was searching on YouTube and I saw this music video and I saw the clips of the aliens and I wondered what film it was, I looked it up and ever since then I’ve been like—that’s my world! [laughs]. Like I wanna live in Fantastic Planet! I didn’t know that it was going to turn into a whole album. At first it was like, I need a cool name for my radio show, I choose Fantastic Planet because I really liked the movie. That turned into more than that, I can’t really explain it.

What kind of emotions did you’re album Fantastic Planet come from?

L: It comes from an emotion of discovery, finding yourself, it comes with a lot of realisation and being in tune with yourself. Also, feeling all the pain through the journey of figuring out certain things. On the album I talk a lot about the space, the atmosphere I’m in, the feeling that I’m in. What I also try to include in it is the texture of these feelings. I don’t think too hard when I’m making my songs, they’re pretty much freestyle, they just come out of me. I’m not sure if it’s because that’s how I’m feeling that day or if I’m writing about something I felt years ago. I just let the songs come to me and just freestyle them in the best way that I possibly can, to not think too hard about it. The emotions that it really comes from though is pain, not necessarily bad pain but pain that is just felt, it’s just there.

Maybe because you wrote the album between the ages of 12 and 19 it’s just the pain of growing and growth?

L: Yeah, the pain of growth, exactly! That’s what I’m trying to say [laughs].

You re-released the album yourself?

L: Yeah. There was a little situation that happened with the release of the album. Basically it was a whole situation where I took all of my music off all platforms for a series of months… the whole situation that happened affected me in a way that I tried to not let it affect me. Especially for people that are making music on their own and they really want it to be out there… my advice to people basically is, make sure you own everything! I’ve written all my songs, I’ve written all of my lyrics, I make all the beats and then sometimes there are people out there that are trying to take that from you, to take that world away from you. My album is the first album that I have ever released, it means so much to me, there’s people out there that are basically trying to take away my right to my music, which is something that I never signed up for, I have never signed any contracts for. I decided to just go self-release and to really make it my own. I do realise that a lot of people don’t really talk about it but some artists are stuck with certain companies because they feel like they can’t do anything about it. For me, I was willing to take down all of my music because it meant so much to me that everything I made I owned. From learning my lessons and stuff I know so much more about the music industry.

I want to be there for other artists that make stuff and who wants to put their music out there, I want to encourage people that you can do it on your own. The internet is so large and wide out there that it’s making it more accessible for people to be able to do stuff on their own. Fantastic Planet is my heart and my world and it’s really hard when people are trying to take that away from you. I worked really hard to make sure everything was mine. I don’t want to discourage people from certain companies but you do have to be careful. Know what you’re trying to represent and who you want to be, what your goal is with things. There was a certain company that gave me a hard time about some things—make sure what’s yours is yours!

Courtesy of Lealani’s portfolio.

I get what you mean. I’ve been doing what I do for 25+ years since I was 15 and I’ve seen so much not-cool stuff happen in the music industry, that’s one reason why I’ll forever be on the fringes, that’s where the exciting things happen anyway. I’ve seen what the music “industry” is and it’s not for me.

L: Yeah, and it’s not like I’m trying to take money away from anyone, I just want to create, I don’t want any distractions.

Like you said, you play all the instruments on your album, you wrote it, the concepts, the art—that’s ALL YOU!

L: Exactly!

Is there a song on Fantastic Planet that’s really significant to you?

L: It’s definitely “Lonely Stars” and “Floating” is another one. “Lonely Stars” is so significant to me because – that’s probably why it’s the first track on the album too – it’s one of the first songs I’ve ever made that is totally me, this is who I think I want to be. It’s such a simple track, a synth, a bass and a drum and hi-hat and me singing over it. There’s just something about the melody and how I made it fit into the instrumental and how it flows. I hold that song really close to my heart. I love performing it live too.

I love “Floating” as well.

L: That’s another significant one as well because I made it when I first got the synths I made it with. I was playing around with it all day, I was playing around with a certain sound. It was the first time that I made the track and then wrote lyrics on the spot to how the synth was sounding. If you listen to the track instrumental I really feel like the words just come your way. That was probably the quickest song that I made on the album. It felt right to say those words and for the melody to be the way it was. It was really fun to write.

I think sometimes the simplest tracks can have a big impact because there is a lot of space.

L: Yeah, there’s lots of freedom.

I really love your song “Minuscule” too. You have a clip for it by Mitch Pond.

L: Yeah, Mitchell Pond. He’s an animator he made a film, he’s an animator for the Adult Swim show Dream Corp. He’s a very, very good animator. The first clip he sent me he had animated the Fantastic Planet bird in my hair and me saying “I feel miniscule” and I was like, ‘whoa! This is so amazing!’ I let him do the rest of the video. I feel it’s probably the first music video that captures the Fantastic Planet word incorporated into my own world as well. He is so good as capturing the artist and the song. I was really happy with how it came out.

You finished your first animated short recently Rapper Cow?

L: Yes, Rapper Cow [laughs]. It’s an idea that I’ve had in my head for a few years. Last semester I was finally ready to animate the film, I spent three months animating it with everything that I learned from all my classes. I did the sound for it. Rapper Cow’s voice is actually my voice, I just pitched it down. I was taking a shower when I came up with the idea like, oh, a cow that raps that bumps into this roller skater cow and they get abducted by aliens and they make beats. I’m trying to turn it into an animated series, Rapper Cow episode two should be out by the end of May.

You mentioned you had the idea in the shower; do you find you get most of your best ideas when you’re doing something other than music or art, like just non-thinking things like going for a walk or something?

L: Yes, definitely. It’s always when you least expect it and your mind is free and relaxed. If I’ve been thinking about something so hard and I can’t come up with something I take a shower and all of a sudden everything will make sense.

It’s minimal distractions, you can’t be connected to your phone, computer or whatever!

L: Yeah! That’s so true.

Have you been working on any new music?

L: Yes. I have been working on a lot of collaborations. One that I will mention is a collaboration with the beatmaker, Snakefoot. He’s from L.A. I’d seen him at shows and we said we should collaborate sometime, he’s been sending me some tracks. I’ve really liked the beats. It’s such a challenge for me learning how to collaborate with other beatmakers, just to collaborate with other people in general. It really changes your process because this time I’m working with someone else’s beat rather than making my own. I’m still working on my own music as well. Collaborating is a really big learning process for me and it improves how I make beats as well. It gives me an opportunity to try things I haven’t tried before. There will definitely be new music coming out in the summer. Snakefoot and I will release an EP over the summer.

Courtesy of Lealani’s portfolio.

I’m excited to see how it all comes out; you usually make your beats by yourself in your room?

L: Yeah all by myself. Sometimes I do need to find a way how to use a different drum pattern or try and find a different process… sometimes it’s hard to figure it out.

You started off playing piano when you were 12, got bored of that started playing guitar, drums and synths; you love the drums the most, right?

L: Yeah, yeah! The drums to me are the best instrument. It is limited in a way because there isn’t pitch changes, that limitation really… I believe that limitation sometimes can allow more freedom in how you express yourself. The drums are the most important factor in the tracks because it moves the tracks and makes it come alive. I love bass. I love ‘60s drumming. I love vintage sounding, crunchy drums. That’s something I want to actually incorporate into my next solo album, something that’s more hard and raw, but mixing in a new electronic sound at the same time as being Fantastic Planet. This time I want it to be more raw or hard, just more of everything! I love the drums, it’s the most fun instrument that you can jam on. It’s really good exercise as well [laughs].

I know you and your dad like to collect broken and vintage instruments from Craig’s List; what’s one of the coolest things you’ve found?

L: The coolest thing we’ve found… a lot of the Casio instruments that we find that are broken… a Casio SK1; there’s a circuit bent version called the S-CAT… that’s one of the instruments I really like using. I’ve been experimenting with using more Casio instruments. It’s really interesting how much you can bend sounds through circuit bending. My dad found a Casio calculator, it’s a calculator that’s a keyboard. Casio instruments give you a really vintage sound. I like the encouragement of using broken machines and turning them into something we can make music with.

Through collecting Casio keyboards, I was thinking about majoring as a Music Tech at CalArts. I actually did get accepted but I decided I wanted to do animation. I feel that gave me more freedom to come up with ideas rather than just building instruments. I also wanted to tell stories through animation rather than technology of music. Maybe it would have been better if I did Music Tech, maybe I would have been a complete wizard [laughs]. I’m really happy with my decision though, I feel like I can put out my ideas in a lot of different ways.

I love your illustrative art as well. I guess everything informs each other. There seems to be a real community and collaborations around you.

L: Its cool people support me and for me to see them make things as well. Someone who went to one of my shows at bandcamp headquarters in Oakland and made a “BEEP BOP BOOP” wooden piece for everybody and gave them out at my show. It was really cool to see someone incorporate my little phrase into their art and give them out. For the “Miniscule” music video to come out and to see someone else’s animation with my music was really cool too. It’s one big collaboration. Everyone should be working together, helping each other, sharing ideas and having fun.

Art by Lealani.

As far as your art goes I feel like freedom, exploration and connection are the things that matter most to you?

L: Yeah! Exactly.

Anything else to add?

L: BEEP. BOP. BOOP. Fantastic Planet. Aliens. Thank you so much for listening to Fantastic Planet. Stay tuned for more music coming out and more Rapper Cow. Thanks Gimmie Gimmie Gimmie zine for having me. If anyone needs help with releasing their own music, to self-release, we’re here with a new record company… if you have questions about the music industry feel free to contact me, I want to be there for other artists that might be going through anything. I don’t know everything but I know some things now.

Please check out: Lealani. Lealani bandcamp. @veggieburgerr Instagram.