self-titled - no. 1 - (Page 37)

Mabuta No Ura (Essence, 2005) “[For] the Brazilian version is a CD-sized copy of the vinyl version on Inoxia, we thought it would be interesting to piece together a visual image from scraps of sounds, songs, photos and writings—for each listener to piece together their own story, their own ‘movie,’ from the layers we provided them. The photographs were all taken on tour.” Dronevil Final (Inoxia, 2006) “For this release, we printed on clear film and layered images for a moiré effect. The album itself is two records, made to be heard at the same time, so the artwork was structured the same way. Around this time, we pretty much stopped using CMYK printing and started focusing on things you couldn’t [understand] completely unless you touched them. I used to habitually sketch, in an innocent kind of way. Now most of my drawings are ‘ingredients’ for album artwork. So a lot of the time I’m not really drawing whatever I feel like drawing but rather working out of necessity. Sketches take a lot of time and can be painstaking. The time spent trying to reach that point of innocence or naivety is the most painstaking time.” Flood (MIDI Creative, 2000) “A nostalgic one. We didn’t use CMYK printing for this one either. In order to convey a sense of depth we designed the jacket horizontally. I drew the surface of the ocean on top, put the members of the group at the bottom of the sea and played with the space between. I thought it would still be a little too vague with just my drawing, so we put a Roger Dean-esque logo on the obi [strip]. This was the first album to distinguish between upperand lowercase versions of the group. I remember really getting a sense of how, even just by writing the band name in lowercase letters, the design and look of the release left a very different impression.” Rainbow (Inoxia, 2006, limited-edition box set) “For this one, we got the label to completely humor our wishes. Tours are always hazy experiences, so that kind of imagery—blurry, overexposed shots—was very real for us at the time. We also shot some video clips specifically to be used as artwork for this box set. We had a hair and makeup artist work on us. We rented out a nice restaurant for the shoot, but the film was overexposed and none of it was captured on camera. Daily life often entails sitting in front of a computer confirming various things onscreen and lacks heavier experiences. So in order to impart a heavier experience, we used much thicker paper than we normally use. The box, the plastic case and the book were produced from original designs and molds, so the whole package was really expensive to make. The president of Inoxia Records spent her entire savings on the package. The label nearly went bankrupt. People often accuse us of crass commercialism or being solely interested in making a buck with all of our limited releases, but the truth is they are very expensive to produce, and the band doesn’t make a profit from them. We want the people who purchase the releases to have a wonderful experience, so we spend the money necessary to make ourselves happy in this respect. On some occasions, we’ve even spent royalty advances on printing costs. If we stopped making these limited releases, the band would make a lot more money, and the labels would be a lot happier [laughs]. But we’re really grateful that our labels support us. And we’re of course grateful to all of the fans who purchase the records.”

Table of Contents Feed for the Digital Edition of self-titled - no. 1

self-titled - no. 1 Contents Spiritualized No Age Les Savy Fav The Teenagers Booka Shade Michael Gira Ellen Allien Magik Markers Jens Lekman Yeasayer Daptone Records Tipping Point Boris Fiery Furnaces Black Dice Black Mountain The Black Lips

self-titled - no. 1

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