In addition to laying down guitar riffs and vocals, Turner is an accomplished visual artist, responsible for cover art, layout, and package design for numerous bands. This unique knack for the aural and visual aspects of music inspired us to ask Turner about his favorite fellow double threats.
My Favorite Musicians/Artists/Designers
by Aaron Turner
Album art is and always has been an extremely crucial component of the experience of an album for me. Though there certainly have been records I’ve loved that have had terrible cover art, most of those that have left an indelible footprint in my mind have been those with a visual presentation of power equal to that of the music.
When I think back on the records that have shaped my ideas about what it means to make music, I usually have a tangible feeling that comes with that recollection, a sense of the atmosphere that the record created for me and how that atmosphere was accentuated or more clearly defined by the accompanying sleeve art. As that has been true in the past for me, so it is now; when checking out new records, I’m consistently drawn to those with compelling covers that draw me in and make me what to know what’s going on inside.
In the last 10 years or so, I’ve become particularly interested in musicians who are also active participants in designing or creating artwork for the albums that they make. It seems logical to me that those people would have the best understanding of what the music is about and the clearest idea of how to communicate that visually. Some of my favorite album covers now are those that have been made wholly or in part by the musicians who also have created the music itself.
Below is a list of people who reside in that category of musician/designer/artist and who have excelled at both aspects of making memorable albums.
1. Fangs Anal Satan (Boris)
Boris has made some tremendous albums over the years, and the music has always been matched by the equally excellent illustration and design. Like the band, which has mutated through a series of different incarnations (in sound rather than personnel), so too have the visuals, without ever dropping in consistency of quality.
From album to album, numerous tactics have been employed: rigid restraint bordering on minimalism, unorthodox packaging materials (colored foam, die-cut cardboard, hand-painted boxes containing dried flowers, etc.), psychedelic fantasy scenes paying homage to ’70s album artist Roger Dean, parodies of classic metal logos (Venom), extensive and beautifully arranged LP-sized photo books. Each release is a special artifact in its own right and as such warrants even further focus towards the music and the packaging from the listener/viewer.