“How many times have I listened to the album? At least 230”: The eco-metal majesty of Nonagon Infinity: A Rock Epic
The planned, unofficial cinematic set to the psychedelic LP is a celebration by Gizz fans, for Gizz fans. Here’s how it came about, from the mouth of its director.
Credit: Manny Edeko and Isaiah Hogue
Nonagon Infinity, for the uninitiated, is the eight studio album by Australian multi-genre group King Gizzard & The Lizard Wizard. Considered by many to be their breakthrough album, it has remained one of the band’s most beloved records since its release in 2016 (director Edgar Wright even cites it as one of his favourite albums of all time).
With nine tracks, the suite is designed to loop infinitely, as the closing seconds of its final track, Road Train, segue into the beginning of stomping opener Robot Stop. It’s a cryptic, semi-conceptual masterpiece of prog rock and psychedelia and, as Wright himself states: ‘my God, does it rock.’
Perhaps it seems obvious, then, that this nine-track, world-building epic—with prog rock thrashers on massive wasps, gamma knives and People Vultures — would be ripe material for a conceptual film. There’s enough here to imagine your own twisted, dystopian hellscape ruled by technology and malformed creatures, with space for a good amount of artistic license.
Enter Nonagon Infinity: A Rock Epic—an ambitious, fan-funded project from animation director Eduardo Adsuara, celebrating a decade of nine-side, polygonal fun. With the help of three very talented animating friends, Adsuara seeks to adapt the opening track of King Gizz’s classic, Robot Stop into a cinematic story, and if the money’s available, do the same for the whole album.
The official kickstarter for Nonagon infinity: A Rock Epic launched on April 29th 2026, marking the 10th anniversary of the record. Within 24 hours, the first goal (€9000 for the Robot Stop rough cut) was reached. The goal now? Raise six times that, and fulfill the infinite loop. I got the chance to ask Eduardo some questions about this epic project, the animation process and all things King Gizz.
Hi Eduardo! Congrats on the kickstarter launch! At the time of this interview, your campaign has made over €12,000 (£10,000)! You hit your target in 16 hours. How does that feel?
Surreal. I tried showing this for a year and people turned it down, saying it was too weird, too specific, too niche. To connect with the KGLW community like this has been the best thing for the project, because it showed there were people hungry for it after all.
So the funding is for a rough cut of Robot Stop and, if the stretch goal is reached, a rough cut for the whole album?
Yes, starting small was always the plan, since this is a very small operation for now. Instead of funding the entire film from the get-go, I wanted to start by having a proof of concept with the opening track, Robot Stop.
If people really want to see this, then the rough cut of the whole film will be something watchable that we can realistically do within a year.
Can you give us a brief synopsis of the story for Nonagon Infinity: A Rock Epic?
It’s the story of a world that’s permanently dying and being reborn, where the same sequence of events happens over and over. People struggle against their fate, and end up fulfilling it anyway. It’s a Greek tragedy set to King Gizzard.
What made you want to do something like this in the first place?
I love Pink Floyd’s The Wall and I grew up watching Pearl Jam’s Do the Evolution music video on my crappy MP4 player in the 2000s. To be able to do something remotely close to those works of art is a dream come true for me. I think music and animation together have the power to go to a place beyond words that I rarely find anywhere else.
Why this album in particular?
I liked it because it spoke to the anxieties I had and still have. To me, a lot of KGLW’s discography is about how we’re killing our planet, how we’re killing ourselves and how we still have to push on to keep living in a world that’s falling apart.
Nonagon Infinity happened to be my point of introduction to the Gizzverse, and it just took me into a loop of compulsive listening.
How many times have you listened to the album at this point?
At least 230 times.
What’s your interpretation of the original album?
It’s bleak. It’s relentless. It’s like looking into a dark abyss and feeling it call to you. I don’t know how else to describe it, but there’s a totality and an intensity in it that is mind melting.
How did you come up with the cinematic narrative? Did it just come to you one day?
It all came to me in a daydream, and now I’m burdened with seeing it through. I’ve been possessed and I can’t help myself.
Credit: Manny Edeko
Besides the album, what were your biggest influences for this project?
I think [Carl] Jung and [Alejandro] Jodorowsky influenced me to pull from very ancient materials for this project. There are references to the danse macabre, the Tarot, samsara and even biblical tropes. Even if it’s an original story, I wanted it to feel like standing in front of a terrible colossus, an old god that inspires fear and awe at the same time.
In this case, that colossus is death. In an era obsessed with status and looks, we’re overdue a memento mori, and I think too many of our stories are really just about distracting ourselves from the fact that we’re doing to die. Telling it in a looping format allows you to really sit with that fact without the finality that death normally has.
What other albums would you consider doing a concept film around?
I don’t know if I could do another whole album right out of the gate, but I definitely want to do more animated music work. Right now I’m preparing a punk project called Airship 303, about air pirates on Venus, drawing inspiration from the first four tracks on I’m In Your Mind Fuzz.
Otherwise, Made in Timeland, Murder of the Universe, Eyes Like the Sky or PetroDragonic Apocalypse [all albums by Gizz] are always in my rotation. I’ve also been toying with Tyler[, The Creator]’s Flower Boy, Queens Of The Stone Age’s …Like Clockwork, and Etienne de Crecy’s hour-long mixes. I don’t know if anything concrete will come out of it, but I’m the kind to imagine stories to music.
When did this project start?
I’d say the summer of 2024. I was visiting my folks and had just gotten my driver’s license a few months earlier. I figured it’d be a good moment to play new music while I practiced my highway driving, and I ended up falling into a deep rabbit hole. I stewed on the story while playing the album on repeat for weeks, and then I finally wrote the whole script in a weekend.
How long is it going to take?
Because this is a rough cut, we can work much faster than a full animation pipeline. My hope is that we can finish Robot Stop in about three months and the whole loop in about a year.
How did you go about putting the team together?
I’ve been pushing for this project on my own dime, so I’ve done as much work as I could on my own and called on my friends for the things I couldn’t do.
Manny Edeko and Isaiah Hogue are both people from the world of visual development for film and videogames that I love for their amazing atmospheric work. Sam Horowitz was one of my classmates at Gobelins and he’s a one-man animation and illustration studio.
They’ve been great to work with and I hope that once this materializes we can keep putting out new art together.
How busy has it been since the campaign launched on Kickstarter?
Honestly, I’m always busy. I work for animation studios as a day job, write and direct indie animation projects in my spare time and help my friends when I can with theirs.
It’s a headache at times, but I like to think one’s life is defined by the kind of problems they have, and I’m very happy to have to wrestle with these problems. Hopefully this campaign can let me focus on a single project for once.
How long does it take to storyboard, animate, direct it, etc.?
It’s an iterative process, less like live-action cinema and more like painting, where you’re using really broad strokes and sketching minutes of a film at a time, and slowly increase the resolution of the work until you’re making the movie one frame at a time. Instead of canvas, we paint on time.
To give you an idea, for rough animatics, the usual industry pace is one minute of footage per week, while the final animation can be as slow as 5 seconds of finished footage per week. This is why the project is sticking to a rough cut for now.
Credit: Manny Edeko and Isaiah Hogue
What’s the biggest challenge you face?
Getting it done on time!
How difficult is it telling such an epic, complex story in the length of an album (40 minutes)?
I think that’s one of the things that make this project special. There are no characters in this story in a traditional sense. There’s no dialogue, no inner life or psychology to them. These are all tropes, stories and archetypes pulled from the depths of our collective unconscious.
This makes them familiar even if they don’t say a single word, and it builds dread because you know exactly what’s going to happen to them. Like two trains about to collide: you know it’ll happen, but can’t look away.
That’s the needle we’re threading.
You got consent from the band to use their music for this. How did that happen?
Dave of p(doom) records was my first contact, after I submitted the first version of my Robot Stop to the KGLW fan archive. When the idea of the film began to take shape, he pointed me in the direction of the group’s manager, Michelle.
I’m incredibly grateful that she took the time to answer my messages and pass them along to KGLW for the whole year that this project was under wraps. It’s largely thanks to her mediation that this exists at all.
Is Nonagon Infinity: A Rock Epic going to loop infinitely, like on the actual album?
Yes. All the segments from the album tie into a complete, looping, epic saga. I do plan on someday adding a prologue and epilogue for a theatrical release, but I also hope we can do an ‘endless cut’ that plays forever.
Will there be a launch event for the finished cut?
We have planned screenings for our backers, but one of my hopes is to eventually show the whole rough cut in the open at a KGLW event like Field of Vision. I want this to be a project by fans, for fans.
What cool rewards are there for backers?
Our star item is our artbook, which people can get in both digital and hardcover versions. It shows all of our work with commentary on each part of the movie, and on the whole I’m really proud of it as something I can give to those who support us.
Other than that, this Kickstarter is very spartan. I think it’d betray the spirit of KGLW’s music if we overproduced some cheap merch that’s going to either stay on your shelf or end up as landfill. The world has enough plastic, and I’d really want people to back it for its own sake.
Thank you for taking the time to chat with us! Is there anything else you want to tell us, or think we should know about?
Nonagon Infinity opens the door.
Credit: Manny Edeko
A huge thanks to Eduardo for answering our questions and giving an insight into this amazing, totally fan-made project. He’s quick to add that while the band themselves have given permission for their music to be used in this project, they do not endorse or support the campaign in any official capacity. At its core, this project is one by fans, for fans.
Good luck to Eduardo, Manny, Isaiah and Sam on this odyssey of prog rock and robot revolution. If you want to check out the Kickstarter for Nonagon Infinity: A Rock Epic and consider pledging yourself, you can find it here.
If you have any questions, queries or compliments for the team, you can contact them at nonagon.film@gmail.com.
And if you just want to stay in the loop and see all the latest, you can find the project on Instagram, at @nonagonfilm.
