Making an album isn’t just about fancy studios, awesome tunes, and line after line of premium-blend cocaine! The sophisticated modern musician must negotiate complex decisions from the amp modelling on the electric guitar on track 5 to the appropriate number insightful blogposts to release before everyone gets dizzy and goes home. But of all the nasty choices an aspiring albúmier (I just made that word up) is faced with, none is more involved and disgusting than the packaging.
In this digital world, the first question is whether even to have packaging at all. But I learned my lesson from Last Days in the Capital, which like three people bought – overwhelmingly, FaceOmeter fans prefer physical media. Plus, I’ve discovered that it’s better have to have tangible things (rather than download codes) to sell at shows. Speculative gig-goers want to see that they’re buying the manifestation of a huge creative process, and that means that we need what four years’ work in any case demands – a record that looks at least as good as it sounds.
Followers of this project will know that I’m ahead here, thanks to my collaboration with Freya Hartas, the best artist in town. But even with great art in the bag, there are decisions to make. Jewel case or digipak? Matte or gloss finish? And what about the inlay – a booklet or a poster? To staple or not? All of these choices have financial as well as aesthetic consequences, so I’ve been racking my brains.
I promised myself on the release of the last album in 2009 that the next one would be a digipak. Digipaks look cool and don’t break, and the particular design we have for the inside of this one will work a treat! On the inlay, though, I’ve been forced to compromise: a booklet proved excessively costly from the printer I’m using, so I’m down to a six-panel foldout, although I’m hoping that the format will allow some cooler tricks with the art. I’m also heading down Matte Alley after a lifetime of gloss-scepticism.
Though it seems a bit premature before the record is even engineered, it’s important to make these sorts of decisions early. I’m using an American printer who specialize in independent bands because the company for the last project I did massively screwed us over and left us without discs to sell on the launch day. This means allowing plenty of delivery and production time this time around.
But it’s also good that the disc’s appearance and sound are evolving alongside each other, because it means that it really won’t be a question of decorating a pre-existing audio project, but of allowing sound and appearance to really talk to each other and create (hopefully) a more coherent end product. There are two vocal takes, some drum sessions, and a few other tiny frills to finish in the studio, and then we can get to the engineering. Progress!