These are some photos that have been sitting around gathering dust since 2010. Until I finally got around to scanning them last night. They were my first attempts with the a Smena 8m camera
ivo-multimedia.com
ivo-multimedia.com
George 2nd posters.
New images based of a forthcoming music project of my own.
Artwork for Offtopic meets Humeka — SoCo LP.
For download/purchase early March from “We Are Another Us” run by Mark Burton, who is better known as Oblio.
The artwork was a collaboration between myself and artist SuzyBee. Suzybee provides the intricate illustrations in this artwork. I really enjoy working with her as I feel each of styles naturally compliment one another.
More information at Resident Advisor and www.weareanotherus.co.uk.
Mask images developed for an experimental dance / electro night.
In Luton myself and friends put on a series of live gigs under the record label name of VSTM / WDT
These are a series of posters I designed to accompany each event.
Cover design for Felicia Atkinson & Sylvain Chauveau — Roman Anglais
Sketches are by Felicia Atkinson. The material for the cover is not card as appears but actually scanned card.
From Boomkat:
Accompanied by Sylvain Chauveau’s beautiful instrumental backdrop, Felicia Atkinson intones captivating, mesmeric spoken passages in both French and English. Ordinarily, this reviewer tends to find it hard to truly embrace spoken word albums, but Atkinson’s bilingual tracts unexpectedly draw you in. There’s an aesthetic congruity between these withdrawn, strangely emotive utterances and Chauveau’s opium haze background noise, which at times sounds like something from Charalambides’ “A Vintage Burden”, while at others you’ll think you’re listening to the pulses and bleeps of hospital life support machinery. It’s all quite strange, and often unsettling, yet beguiling all the same. The lulling electric guitar passages of opening tracks ‘Aberdeen’ and ‘How The Light’ transplant you to a mindset somewhere on the brink of consciousness, only for ‘Dans Le Lumiere’ to confuse and disorientate you over the course of its ten-minute journey toward the static absoluteness of its droning coda.
The eighteen minute title track that closes the album is probably the most remarkable of the four pieces, with Chauveau fashioning a far more densely woven musical setting for Atkinson’s voice. Interlocking, sustaining guitars meet and overlap while soft electronic activity hums in the background, retaining a blissful harmonic cogency throughout. It’s all very poetic, and the kind of album you could happily immerse yourself in for hours at a time. Highly recommended.”
Meek Tiger (the origin of the name is a story for some future date) sounds like disaster movies, opaque and dimly lit hollow caverns, the noises made by heavy objects impacting against brittle ones (and vice versa) – imagine, if you will, that all geologic sedimentation observable in the world today was actually a product of the US government performing a seance, resurrecting Alberto Giacometti in1987, and getting him to paint all the patterns in by hand – then claiming they had always been there, and proceeding to use this as an argument for creationism.
The title of his debut release, SyNkr07iK N3kr0N124t10n splits the difference between synchronic necrotization and necrotic synchronisation: the timed and simultaneous death of all life, or a snapshot of the death of one organism. (The School of Unthink would like to be noted, however, that misreadings using other words, such as syncretic, synthetic, and Necronomicon, remain both welcome and encouraged.) Copies are available: contact daniel@vstmrecords.co.uk .
Meek Tiger explores dub soundscapes in search of a sense of self, joining the front lines of the sonic conflict that currently characterizes community dance music. Multiple sound sources — guitars, keyboards, samples, pure accidents of MIDI programming — jostle against each other, struggling to make their voices heard in the mix.
About the Artwork/album cover
Daniel is fellow member of the school of Unthink trusted me to re-create from his sketch what the album cover of his album “Meek Tiger — SyNkr07iK N3kr0N124t10n” should look like. From my own listening experience I devised a textured and warm artwork, I wanted to put across how surreal and warped the music was but at the same time how it seemed to follow a linear plot with pathways, scenes and meeting points.
The city forms a paradox looking inviting and inhabitable in the background, whilst in the foreground I wanted the cryptic clues given to me (which to this day I still don’t understand) to be very prominent and static within the artwork.
This artwork was quite possibly one of the longest and most detailed pieces I have ever made with a photoshop layer count of over 300 layers! Shadows within shadows and very finely cut, warped and manipulated objects that I tried to give some realism to and somehow map as a collage to fit into a very unrealistic photo of a large lake. I really like how I’ve tried in my minds eye to create a photo realistic version of the sketch but failed miserably but at the same time created something with the sonic elements of the music and it’s surrealism that do not fit together quite right but seem to make this sonic map and drawing that I feel perfectly aligns to the story and music.
CD Package photos and description:
- Cd package includes Arigato pak case, green watercolour hand painted.
- Front artwork – glossy full colour photo print
- Back artwork – Hand Calligraphy and spray-painted Godzilla footprint.
- Cd-R with inkjet green Godzilla footprint.
- Linear notes 12 page green booklet 100 gsm, staple bound.
Gallery
