Packaged Rebellion: When Presentation Enhances the Album Experience

Insert tired fucking cliché about books and covers [HERE]. Well worn bromides of questionable veracity aside, a good cover and an innovative package in the hands of a clever designer can actually enhance the album experience. While album art and packaging are meant to convey quickly what a record’s about (“Hey, this has Ed Repka zombies on the cover; it must be the new Taylor Swift album,” said nobody ever), the designs can actually take music and elevate it by providing another entryway into the art. A good visual and a design that invites close study and an extra minute of thought can even elevate albums that were otherwise forgettable failures.
Here are five albums that stepped up the game on the visual side. 

Discordance Axis
The Inalienable Dreamless 
Hydra Head
2000
The Inalienable Dreamless looks like no other album before or since. Jon Chang’s meticulous design ensured that Discordance Axis’ final album would stand out from all of their peers and competitors (even if it did get grindcore’s defining moment mistakenly exiled to the DVD section of many retailers). Most obviously, The Inalienable Dreamless came packaged in a DVD case, which gave a wider, more cinematic aspect ratio to the wrap around horizon and seascape the band chose for the art. If most album art was in a TV aspect, Discordance Axis had jumped to wide screen. The colors and imagery gave no hint to The Inalienable Dreamless’ content and the illegible logo, tiny script for the album title and lack of even song titles and a bar code on the packaging ensured the album would be an enticing mystery for those brave enough to peek inside. And inside, fans would find a larger than usual booklet that was laid out to look like a journal, just one more personal touch that made The Inalienable Dreamless the endlessly fascinating musical landmark it remains today.

Coldworker
The Contaminated Void
Relapse
2006
Coldworker’s music vacillates between inoffensively forgettable to insultingly unlistenable. But the one thing Anders Jakobsson’s post-Nasum project got perfect was the art for debut album The Contaminated Void.  Relapse’s resident visual maestro Orion Landau crafted a clever booklet for the album that includes clear cellophane overlays that alter the art a page at the time, concealing and revealing the Breugellian horror behind, framing and then exposing the hellish slasher film revelry. Coldworker never deviated much from the well worn themes of death, decay, betrayal and misery and even then weren’t album to elevate their material beyond the legions of similarly minded metallers, but the booklet art is enough to keep you coming back periodically to experience The Contaminated Void against the backdrop of such a striking package. Relapse has to be applauded for cracking open its wallet for such a visually inventive presentation. It’s just a shame it wasn’t in service of a better album.

Creation is Crucifixion
Child as Audience
Hactivist Media
2001
Child as Audience is many things: Creation is Crucifixion’s best sounding effort, a didactic lesson in critical theory by a droning, monotone lecturer and a whole Anarchist’s Cookbook full of practical cultural and technological subversion suggestions. Against all of that, the three songs, which were some of Creation is Crucifixion’s best, can understandably get lost. At the center of the unassuming brown cardboard box, a nod back to the brown paper bags used to sell dirty magazines in the bad old days, is an inch think multilingual book that lays out the Creation is Crucifixion manifesto on education, liberty and authoritarianism. Child as Audience is intent on subverting the methods used to indoctrinate children, instead turning them into opportunities to learn the principles of radical anarchism. Creation is Crucifixion provide one means for subverting indoctrination by detailing instructions for reverse engineering old Nintendo Gameboy cartridges to create games that teach children the joys of of their own sexual development while reinforcing the message that authority figures can never be trusted. That’s a hell of a lot to cram into a package that contains less than 15 minutes of music.

Graf Orlock
Doombox
Vitriol Records
2011
Graf Orlock’s creative packaging is so legendary it probably deserves a post of its own from the face-hugger CD-holder of Destination Time Tomorrow to the multiple foldout fronts of Destination Time Today. The attention to detail they put into their offerings is meticulous and a large part of the band’s charm. But the cinephile grinders absolutely outdid themselves with the stunning Doombox. The 2011 release not only included the band’s entire discography to date, but the whole kit ‘n’ kaboodle folded out into a giant ass boombox to hold your precious filmcore records. The whole concept is deliberately over the top but it also perfectly encapsulates Graf Orlock’s passion for film and their go for broke approach to music and presentation. It’s that kind of time and budget killing vision that lets you know Graf Orlock view their music as something more serious than a revenue stream.

Pig Destroyer
Book Burner
Relapse
2012
However disappointing Book Burner might have been musically, the packaging, especially for those of us who shelled out for the two CD digipack, does admirably reflect Pig Destroyer’s lyrical themes and ambitions. The book-bound digipack, which includes J.R. Hayes’ short story “The Atheist,” feels like a tome in your hands. It's like a samizdat missive from the dystopian world of Hayes’ imagination and that does help reinforce the themes Pig Destroyer were trying to build on Book Burner. Now none of that redeems flaccid music, a stale concept and a trite, poorly written short story, but it does show some forethought and an eye toward worldbuilding. The term concept album gets tossed out too casually for every wanking prog band that slaps together a handful tunes about calculus, but Book Burner at least tried to create a complete packing from the art to the presentation to the music that established multiple entry points into their blighted landscape. It was ultimately a failure, but it was a failure that took a chance.

G&P review: Coldworker

Coldworker
Rotting Paradise
Relapse
I promised myself I would try to get through this review without dropping the N-word… ya know Anders Jakobson’s former musical digs. But fuck it, that’s the only reason anyone would have to be mildly curious about Coldworker’s facelss and forgettable second album.
From the artwork through the songwriting, Coldworker seem to be doing everything backwards. Though they churn out a solid mix of death metal and grindcore, the songwriting lacks even the rudimentary hooks that made The Contaminated Void a decent if only occasional listen. There are no hummable “Return to Ashes” or “They Crawl Inside Me Uninvited” style songs to be found here with the possible exception of “Citizens of the Cyclopean Maze,” a pinch harmonic, fluid solo frenzy that breaks up the otherwise faceless blast blast blast, chug chug chug dynamic of Rotting Paradise. It’s all executed solidly and decently produced – from an array of studios across Sweden. Which may be part of the problem because the band doesn’t seem to be on the same page and according to the production credits, were hardly ever in the same room.
Even the art fails to play to the band’s strengths, coming across as ill chosen and derivative. Relapse’s in house visionary, Orion Landau, who crafted the stunning multilayered art for the band’s debut, is back but his best mangled, rotted and eroded images evoke Pig Destroyer rather than creating a unique identity for Coldworker. And his best work is shoved inside the packaging, which is graced with a Job For a Cowboy-lite goatheaded gigolo who looks like an extra from that awful Omen remake.
While it’s good to see Jakobson back in the saddle following his long time songwriting partner’s tragic death, Coldworker’s uninspired mix of classic Swedish death and American “-tion” assault just isn’t enough to reinvigorate a well tread scene the way Nasum (there I’ve said it) kicked grind in the ass. Bands like Cattle Decapitation and Misery Index are confidently working the same territory with much better results and Coldworker just don’t do enough new to hang in a badly worn scene.

Scott Hull: A Personal Revolution in Soundtracks

Scott Hull’s first stab at a movie score, dropped by the filmmakers, will see the late of day courtesy of the Agoraphobic Nosebleed/Pig Destroyer banger’s backers at Relapse.
Requiem, written in 2006 as the soundtrack to an independent film but never used, shows Hull flexing his musical muscles and thinking outside of the grind sandbox for a more relaxing, emotional and ambient experience. It’s no secret the guy’s a film buff, hanging out with artiste Matthew Barney and name dropping ’60s psyche filmmaker Alejandro Jodorowsky, There’s certainly no denying the cinematic quality his brings to his own projects, especially Pig Destroyer’s stalker diary narrative screeds, especially with the addition of noisemeiser Blake Harrison.
But if you’re looking for 90 minutes of Nosebleed blipcore soundtracks for the greatest action film never made, you’re gonna be disappointed. Take a look at Hull’s friend list on his new solo MySpace page: famed composed Ennio Morricone claims the number one spot while experimental musicians Robert Rich, Steve Moore and Zombi also score front page shout outs. The samples he posted are ambient, meandering bits of surprising melodicism from grind’s foremost spokesman for shock and awe guitarmageddon. Sorry, grinders, but despite the promising title “Shootout,” the track is actually a really relaxing bit of southern twanged Floyd worship that could have been a deleted track from Meddle or Obscured by Clouds.
“This wouldn't really have been my FIRST choice as a solo artist to release, because it was music written for a specific purpose, so I don't REALLY consider this a solo record.” Hull wrote on his MySpace blog. “But I hope some of you out there can get into it.”
Requiem drops June 10 via Relapse.

In more grinding Relapse news, the Pennsylvania label survived that state’s tumultuous – but ultimately pointless – primary voting last week to confirm a slew of new album release dates:

The sameday Hull’s solo debut drops, Relapse will finally let Agenda of Swine’s debut, Waves of Human Suffering, see the light of day. This is the first album from the Bay area band featuring Pete Pontikoff and John Gotelli of Benumb fame.

Next month will also see the release of Coldworker’s second full length, Rotting Paradise. While I was not thrilled with Anders Jakobson’s decision to put out Doombringer, Nasum’s live album, I gotta admit I’m stoked to hear what he has to offer with his latest outfit. The Contaminated Void was a little rough around the edges as Jakobson assembled a supporting cast of extremely young musicians for the latest outing, but the effort showed promise. With a couple extra years to mature and gel the ensemble could be on the verge of unleashing great things. We’ll find out May 13.

Relapse will also be reissuing albums from Cephalic Carnage, Coalesce and Bloodduster with all new artwork in the coming weeks as well.