Pengaruh Edward Gorey dalam video muzik Mark Romanek

Terdahulu saya menulis bagaimana faktor budget, dan lunturnya kreativiti atau director’s block yang menyebabkan banyak video muzik tempatan agak kaku dan sama isian visualnya. kali ini kita agak ke depan sikit dalam soal budget kerana , ini ialah video muzik yang pernah menjadi video muzik termahal Nine Inch Nails. sudah tentu kerana konsepnya. ini ialah satu bentuk error buat pengarah video muzik jika mereka punya dana yang terbatas. simpan dahulu idea anda di dalam buku catatan sehingga teknologi memungkinkan anda, dan peruntukan terhad bukan lagi jadi satu isu.

The Pefect Drug ialah video ke 12 Nine Inch Nails dan yang ke 2 arahan Mark Romanek untuk Nine Inch Nails, pada tahun 1997, selepas video “Closer” pada tahun 1995 yang menerima banyak anugerah-anugerah video berprestij. Ini ialah salah satu trek yang diambil dari soundtrek filem arahan David Lynch, “Lost highway”. Dalam video ini, Reznor digambarkan sebagai seorang ayah yang putus harapan dan bersedih atas kematian anak perempuannya di sebuah ladang dalam suasana yang gotik. Dari segi prop, ia banyak berlatarkan suasana Victorian sama ada dari pemilihan kostum hingga ke set latar belakangnya yang pelik. Warna biru yang agak gelap mendominasi video ini untuk suasana suramnya. Menurut Mark, video muzik ini sebenarnya berinspirasi dari sebuah animasi pendek terbitan PBS iaitu “Mystery!” yang mana animasi itu juga di hasilkan berdasarkan karya seni Edward Gorey. Mark Romanek punya minat yang mendalam terhadap karya Edward Gorey sehinggakan setiap shot dari animasi “Mystery!” diaplikasikan pada video muzik The Perfect Drug. Dan sememangnya untuk memberikan feel yang sama dengan karya seni Edward Gorey bukanlah satu kerja yang mudah buat Mark. Kerana itu belanja video muzik ini menjadi mahal. Melalui video ini juga, band Nine Inch Nails berubah dari segi stail pemakaian dan penampilan mereka, daripada standard sebuah band industrial yang biasa kepada fesyen Victorian yang menjadi ikutan peminat-peminat mereka dan juga band-band lain selepas itu.
   Edward Gorey (1925-2000) pula ialah seorang penulis dan pelukis legenda yang dikenali melalui buku berilustrasinya yang mana kebanyakannya bertemakan gelap dan menyeramkan. Walaupun pada asalnya karya Gorey tidak dihasilkan khas untuk golongan kanak-kanak, ia menjadi popular selepas hasil kerjanya digunakan untuk animasi “Mystery!” pada tahun 1979, ketika dia masih lagi berkarya di pentas Broadway untuk versi “Dracula”nya. Salah satu bukunya Gashlycrumb Tinies diterbitkan kembali bersama-sama produk sampingan seperti kemeja t, lunchbox, poster, kalendar dan beg tote. Walaupun karyanya berat kepada rekaan Victorian, hakikatnya Gorey sendiri tidak pernah menjejakkan kaki ke Britain sepanjang hidupnya. Apa yang lebih menarik, rekaannya telah mempengaruhi banyak pengkarya antaranya pengarah filem Tim Burton, pelukis komik Tony Millionaire dengan komik Shock The Monkey, dan band Dresden Dolls.

Edward Gorey juga ialah penulis yang banyak bermain dengan anagram, iaitu mengubah susunan huruf pada namanya sendiri untuk dijadikan nama karekter pada bukunya. Paling dikenali ialah karekter “Ogdred Weary” di dalam bukunya “The Curious Sofa, The Beastly Baby “.

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Peter Saville

Saya tak nak mulakan introduksi saya dengan biografi artis ini. macam how he start, asal dia,… atau tahun lahirnya. Satu saja yang saya ingin sebut, dia british, seperti juga Vaughan Oliver,… dan Nick Knight, oh, Russell Mills. Neville Brody . Dave McKean.

bloody American, they never did a thing! ok, Paul R Brown did. but late. David Carson? haha, he did far more. but live on his own.

Tapi yang saya pasti, anda pernah sekali atau sudah biasa melihat hasil kerja Peter Saville ketika berjalan di record store, atau melihat koleksi CD rakan anda yang punya minat tinggi pada genre British rock. ataupun, punya telinga yang bukan biasa dengan airplay radio aliran perdana.

hasil kerja Peter Saville yang paling baru ialah satu identiti yang besar. iaitu mencorak kembali logo EMI daripada bentuk lamanya. tahu apa yang saya nampak ketika melihat logo baru itu? logo Roadrunner Records, yang juga diperbaharui 6 tahun dahulu, yang mana logo lama Roadrunner tak ubah frame-nya seperi logo EMI. atau mungkin mereka hanya ingin mimik gerakan EMI, dengan bentuk yang lebih keras, pada muziknya.

Lihat cover CD Suede dan Pulp, dan New Order. Itu hasil kerja Peter Saville. ceria warnanya. tujuannya, untuk menentang hukum2 rigid rekaan cover CD semasa.

Peter Saville sebenarnya sudah lama menentang hukum2 rekaan cover album ini. mari kita lihat sejarah Peter Saville dengan cover album dibawah:

http://alejandroidex.files.wordpress.com/2008/04/joy_division_unknown_orig_size.jpg

tanpa banyak kredit pada rekaan album ini, seperti tajuk album dan nama band, ini ialah album debut Joy Division  – “Unknown Pleasure” yang merupakan landmark album untuk band ini, di mana muzik punk pertama kali ditonjolkan dengan mood yang bleak, gelap berbanding album2 punk yang lain ketika era itu. inilah album penting sebelum  wujudnya terma gotik yang diberikan kepada Joy Division dan band2 sealiran.

imej Unknown Pleasure terhasil berdasarkan graf 100 denyutan berterusan pulsar CP 1919 (rujuk url: http://www.jb.man.ac.uk/~pulsar/Education/Tutorial/tut/node3.html)

diangkat sebagai konsep cover album minimalis yang klasik. imej ini ditemui oleh pemain gitar/keyboard Joy Division, Bernard Summer di dalam sebuah buku astronomi yang merujuk kepada ‘kelipan terakhir bintang mati’.

saya percaya imej cover diatas akan menarik banyak perhatian budak2 sekarang yang tengah cari design t-shirt band2 yang cult namanya dan menjadi collectors item.

yang terbaru, saya lihat cover Nine Inch Nails – “With Teeth” hasil kerja Rob Sheridan (budak ni merata2 aku tengok kat Myspace) punya pengaruh dari cover Unknown Pleasure selepas dia puas ‘ape-around’ hasil kerja David Carson. did trent reznor ever told you a  lesson, Rob?

rekaan untuk alkbum terakhir Joy Division, yang dihasilkan selepas kematian frontman-nya, Ian Curtis dianggap kontroversi. itu saya tak nak cerita.

sejak dari cover album  Unknown Pleasure, Peter Saville menjadi nama penting dalam dunia seni reka dan seni visual british amnya. rekaannya bukan hanya tertumpu pada dunia muzik, tetapi juga pada seni fesyen, dan juga syarikat2 dengan nama2 besar, seprti CNN, Adidas, dan Adobe.

nama Peter Saville sebenarnya sinonim dengan label Factory Records, yang mana label muzik ini ditubuhkannya bersama2 dengan Tony Wilson, Rob Gretton dan Alan Erasmus yang menerbitkan artis rakaman seperti Joy Division, New Order, The Durutti Column, Happy Mondays, James dan Orchestral Manoeuvres in the Dark. Cara kerja mereka iaitu satu pasukan kreatif untuk rekaan cover artis2 dalam label punya persamaan dengan label 4D yang juga mempunyai in-house designer “23 envelope” yang dikepalai Vaughan Oliver untuk artis2 rakaman dibawah label 4D. Malcolm Garrett yang mereka cover untuk The Buzzcocks ialah pengaruh utama bagi Peter Saville ketika mula menghasilkan seni cover.

nama Peter Saville sekarang sebesar bandar Manchester. ya, pada tahun 2004 dia telah diberika tugas sebagai pengarah seni untuk bandar Manchester, sesuatu yang besar untuk seseorang yang hanya bermula dengan cover album sebuah band post-punk.

nota kaki: ini ibarat nota bunuh diri saya, kerana saya cuba mempopularkan ( atau lebih jujur , berkongsi) perkara ini. ia ibarat membiarkan hajat saya ke atas t-shirt J Division menjadi mahal, … . angka di eBay bakal melambung.

Shelby Cinca


Jika anda ditugaskan sebagai pengilustrasi untuk kulit album band pioneer subgenre Mathcore, bermakna anda mempunyai (atau menghasilkan) sesuatu yang belum pernah dilihat sesiapa. Visual matchore sebenarnya tidak pernah bersifat matematikal. Ilustrasi untuk kulit album Dillinger Escape Plan (DEP) sebelumnya, Miss Machine menggunakan subjek yang lebih bersifat lukisan kejuruteraan. Shelby Cinca pula dipilih kerana visi futuristiknya untuk album Ire Works, seterusnya memahatkan namanya di dalam catatan visual genre muzik teknikal itu.

Shelby Cinca boleh jadi anggota ghaib DEP, lama dahulu sebelum formasi terkini dengan kemasukan John Tutle dan Gil Sharon,…. malah boleh dikatakan sebelum penubuhan DEP. “Kami saling meminati antara satu sama lain dalam perihal kerja kreatif,” terang Shelby dalam sesi temubual bersamanya. Jika melihat kulit album Ire Works secara kasar, anda mungkin dapat merasakan kesamaannya dengan imej pada kulit album Pink Floyd – Dark Side of The Moon, terutama bentuk segitiga dan latar belakang hitamnya, seolah-olah DEP ingin memberi penjelasan secara muzikal bawaha ianya sesuatu yang mencabar sama seperti cara Pink Floyd. Tetapi menurut Shelby, ianya bukanlah disengajakan sebaliknya dia merujuk tema ‘kecerdikan buatan’ dan satu hiraki. Ikuti temubual eksklusif bersama Shelby tentang seni Ire Works, DEP dan kerja muziknya.

ROTTW : Sekali pandang, kulit album Ire Works kelihatan seperti Dark Side of The Moon yang dirumus kembali.
Shelby : Bukan Pink Floyd, sebaliknya tema utama Ire Works ialah ‘Artificial Intelligence’, konsep ini dirujuk dari diagram Bloom’s Taxonomy. Ianya satu prinsip asas yang diadaptasi oleh manusia dan juga ‘artificial intelligence’ untuk hidup dalam sifat kompleks kemanusiaan.

ROTTW : Bagaimana anda boleh terpilih untuk menghasilkan kulit album ini? Siapa yang memberi ilham untuk konsep Ire Works?
Shelby : DEP yang bercadang untuk menghasilkan sebuah album berdasarkan ‘artificial intelligence’. Artis yang pernah menghasilkan kulit album Miss Machine yang juga kawan baik saya, Brian Montouri sepatutnya menghasilkan
seni kulit Ire Works tapi dia merasakan sukar untuk dirinya menggambarkan konsep album secara visual. Rakan-rakan DEP pula sangat maklum yang saya ini gilakan fiskyen sains dan teknologi, jadi mereka sarankan saya menghasilkan kulit album ini dan ‘menggila’dengan konsep album. Prosesnya berlaku dengan cepat, saya cuma perlu pusing sedikit mengikut diagram Bloom. Kemudian Liam (Wilson, pemain bass DEP) dan saya berbincang tentang konsep keseluruhan layout.
ROTTW : Saya ada terbaca tentang blok-blok warna yang terdapat pada sleeve album Ire Works yang sebenarnya adalah
kod-kod yang memberikan mesej ini: “We have a symbiotic
relationship with something which has disguised itself so as not to alarm us.You contain a trillion copies of a large textual document written in a highly accurate digital code. Any sufficiently advanced technology is indistinguishable from magic. As if you could kill time without injuring eternity.
It might not be true but these are necessary illusions. Just lie down on the floor and keep calm. If thought corrupts language language can also corrupt thought. Wherever you go there you are. This is a tour de force of misinformation disguised as fact”
. Mesej-mesej ini agak gelap tapi saya merasakan ianya agak menarik kerana ianya disusun dan diwarnakan dengan cantik hingga sukar untuk pendengar mengagak yang ianya sebenarnya memberi maksud tertentu. Kita bercakap tentang perkara subliminal di sini…

Shelby : Jika mesej-mesej ini dibaca dan dihayati, ia sebenarnya
boleh dilihat sebagai hidupan ‘artificial intelligence’ kepada Ire Works yang menyedari ia hidup dan mereka cuba mengkaji dan memahami perihal manusia, proses hidup dan sumber maklumat. Liam yang memberikan mesej-mesej ini. Saya pula tampil dengan kod-kod yang diilhamkan dari kod-kod warna yang pernah digunakan oleh Peter Saville (Feature, ROTTW V.117, Ogos 2006) dalam rekaan kulit album New Order sekitar 1980an.
ROTTW : Bagaimana anda dan DEP mula saling mengenali?
Shelby : Saya pertama kali jumpa Ben (Weinman, gitaris DEP) sejak dia bersama band lamanya sekitar pertengahan 1990an. Masa itu band saya, Frodus bermain bersama mereka. Ramai yang tak tahu sebenarnya DEP pernah memanggil saya untuk menggantikan tempat vokalis asal, Dimitri Minakakis sebelum Greg Puciato menyertai mereka sekitar tahun 2000. Mereka juga pernah membawa band saya ketika itu, Decahedron untuk tour selama setahun di Festival SXSW. Jadi, sebenarnya kami memang mahu berkerjasama secara kreatif.
ROTTW : Apa yang anda ingin tampilkan secara peribadi melalui seni album Ire Works?
Shelby : Salah satu dari matlamat saya dalam seni visual ialah untuk membawa semula gaya minimalis ke dalam muzik punk, hardcore dan metal bersama inspirasi kuat dari John McCracken. ‘Throw a wrench in the visual stream of trends‘. Saya mahu menghasilkan sesuatu yang saya rasakan bersifat kekal dan abadi. Ianya sangat ironik kerana ketika menjadi pereka bebas dahulu, ada satu masa saya dapat banyak tawaran kerja. Kemudian arus rekaan dengan gaya emo, jalanan dan maksimalis melanda, ketika itulah saya mula hilang kerja kerana saya tidak menyampaikan gaya atau apa yang mereka rasakan trend terkini ketika itu. Ianya agak murah dan ketinggalan. Seni menjadi lebih sekadar trend pemasaran dan tidak lagi dilihat dengan pendekatan serius seperti seni kulit album yang kita kenali dulu. Jadi seni Ire Works ini seperti serangan peribadi saya terhadap terhadap itu semua.
ROTTW : Sebagai seorang pereka futuris, apa pandangan anda tentang seni kulit album dan fungsinya di masa akan datang memandangkan format muzik sekarang sudah berubah dengan pendengar sekarang lebih suka membeli album secara muat turun berbanding album berbentuk fizikal seperti CD dan LP?
Shelby : Saya merasakan seni kulit album masih lagi penting kerana ia adalah perlambangan visual kepada muzik. Sesetengah pendengar masih lagi menghargai seni sebegini sama ada secara sedar atau tidak, kerana mereka dapat mengenalpasti sesuatu muzik melalui seni kulit albumnya, tidak kira tinggi atau rendah nilai seninya. Cara seperti Apple melalui ‘coverflow’nya ketika kita melayari stor simpanan muzik digital masih punya tempat yang penting dalam pengalaman kita mendengar album atau lagu. Cuma, semakin sedikit masa yang diperlukan untuk menghasilkan seni di dalam kotak bersaiz lebar 1600 piksel di komputer berbanding menghasilkan pakej CD atau LP, jadi ia menjadi kerja di mana pereka dan artis perlu mengenakan bayaran yang kurang untuk sesuatu rekaan berbanding harga sebelumnya.
————————————
Selain sebagai pereka kulit album, Shelby Serban-Alex Cinca juga ialah pemuzik yang pernah menganggotai beberapa buah band seperti Frodus, Decahedron, The Cassettes dan Frantic Mantis. Kini dia bergerak secara solo dengan pembawaan muzik elektronik. Dia juga adalah naib presiden untuk label bebas, Carcrash Records. Layari laman webnya,
http://www.themindcontrol.com atau http://www.ireworks.net

Commune Cult Conquer The World : A Conversation w/ Jason Groves of Shynola

That film is terrible…” kata Jason.
I mean, it should be a film.

..

diagram 1:
1. Invitation card for Antenna UK 04. Sunitha ask me to cover Eclectic Method, a VJ trio who did this mix-mash video that I think evry interesting. She want to have me an interview before their workshop on Sunday, unfortunately my mag work, the deadline is deader than dead, and I couldn’t help it.
2. Jason Groves during a speech at Antenna UK nite show @ Maison, KL. Kalau anda ke sana malam tu, you’ll see a behind-the-scene video of QOTSA mtv – “Go With The Flow”. There’s an actual stripper, convert to black-white-red, Sin City style.
3. A collection of cards, a giveaway at Antenna, nicely packed in brownish envelope. I love this pack.
4. Antenna t shirt. Also free giveaway.
5. Man, I look so tired. Jason probably know, as his mate, Chris wrote it, a nightmare. Jason and yours truly at afternoon conversation, Rennaisance lobby.

————————————————————————————

That’s me and Jason Groves, one fourth of Shynola, team of music video directors, work ranging from Queens of the Stone Age’sGo With The Flow“, Blur’sCrazy Beat” & “Good Song“, Radiohead’sPyramid Song”, Junior Senior’sMove Your Feet“, UNKLE’sGuns Blazing” & “An Eye For An Eye “, … and many. They helped Hammer & Tong with some visual effect in their debut movie appearance, “Hitchhiker Guide To The Galaxy”.

And if you ask me, what film that is so terrible as we talk, …. itu filem Dave McKean, Mirrormask. Sorry to Dave (or Gaiman) fans. Sometimes it’s so true. hah!

Previously, few weeks back, I got this email that was sent frequently by JUICE mag, that British Council will had this Antenna UK 04 show on March 17 at Maison, KL. And they will bring together Jason Groves from Shynola. I said it was cool. At least VJ culture thing is not as vomitting as club culture. Then, something hit me. I might write something in my art of music video space i had in the magazine, after months got beaten by writer’s block. No, it’s not a writer’s block. But, they cut my space to half, when I want to talk alot. Giving me half, means everything that is interesting to write about got to shrink. But that Blur or Radiohead or Rapture videos deserve not just half page. If only I had an interview with Jason, then my editor will say “Great! Make it 2 page!” So, as soon as my deadline got deader, I write to Jason, w/o too much hope that Jason will answer it. Because looking at their website, it’s like they’re not working their ass on it. They might be busy, or travel alot. Or work alot for their full lenght movie in 2009. Karma play a funny thing. I got reply from Jason: “Nice to hear from you. They will have me an interview session morning before the show. You can contact Sunitha from British Council for this matter, or else, you can meet me after the show. Or I just answer your question by email if you can’t make it.”

Then, I write to Sunitha, the arts manager at BC. Sooner I realize, my human form become weaken by the loadsofwork. I can’t handle my email. All I can do is read. I think Chris Harding from Shynola has said something about this experience as ‘nightmare’, … bad food, weird working hours.

I got 2 phone calls from BC (one from Sunitha, I swear I heard this Brit woman in her late 30’s that sounds ‘loaded’.) “Are you going?” Of course I will, be prepare to see me show up in my most unlikely human figure. Sunitha and BC actually never heard about magazine I worked with, probably due to nature of the language we used. But my intention is good. 🙂

So, I made it at 11 something in the morning. Late actually, but it’s good, I give more time and space for this chinese who still want to talk alot with Jason. Sunitha, unlike her full name that is very traditional to her Indian root, didn’t look like Indian, not even sound like it. She’s in 20’s, approachable, nice lady. Oh, yeah, we talk about Tool. My interview with Jason was set in the lobby of Rennaisance hotel, across MTC. I supposed to have Apis, my journalist friend with me, so that I’m not dead… in what i’m going to ask to Jason. but then i’m not prepare a thing. no questions i wrote, no notes from this conversation i took. we’re just talk freely about anything starting from Chris Cunnigham.

Have you meet him?”
I did. Once.”
“Recently, he made a comeback.”
“Oh, really?”
“Try watch The Horrors video – ‘Sheena Is A Vampire’ “

I don’t know what move me to have an interview with Jason, talk about almost anything on music video (bukan music video dia je, … almost anyone, everyone I know when I have my space to write about the art of MTV thing for magazine), but I guess it has to be past 5 years ago, masa aku baru balik ke Terengganu lepas ‘hilang’ like , a month. I mean that one month has fuel my fire, creative desire that has been blocked. That was dreamless era, as I wrote in my Kubang Parade’s Journal year one, I almost got nothing to do in Terengganu. There’s a sketch drawing, supposed to be my comic books storyboard, which this kid with a backpack, watch his left and right, and waiting to getaway from small cell. I mean it’s a cell. I was in the cell. You got no source for reading digest, comic books, metal videos, …. your record player got broken and most of all, you got no money to buy more music and comic books or graphic tees. The worst, when you want to do something for art sake, you can’t do shit. No one to work with. You got no motivation or inspiration. Mobility’s off.

September 2001. Masa ni, less we read, but more we boast. So, I decide to, … run away from home. Bad idea.

November 2001, lepas je balik rumah, the first music video I taped at home that I still like it so much this date, is the one that Shynola did for Radiohead, “Pyramid Song”. And it’s not their first work for Radiohead. So, I get along with my friends in music back, talk about the music video. “You should check this, it’s not just about the song that Yorke sing.” That moment, we still have this labor of love for tv, for it’s crystal clear view, accesibility, …. and let’s say, no YouTube. There is no YouTube. Unfortunately to have this kind of video sharing at the end of 2001, still cost you alot of MB damage. The YouTube thing , however is not a new thing for me. Back in 2002/3, when Macromedia Flash came up with version 6 and you can load your video, …. pain lesser, in about few MBs, I got this idea to put all these music videos collection, all in Flash file, so I dont have to live in misery. Plus, me and Kamal Masrun too working on music video, with Flash, … it’s a fundamental thing, and it’s fun. I really wish I could do this again, … for nothing.

YouTube too is one of many thing I talk with with Jason that evening, 17 March 07. “It’s a good source to find all these videos you can never have. I only have Good Song and Move Your Feet up on our website, just because it cost a lot of bandwidth.” Great, Jason, when you go back to UK dont forget to put that guitar playing kitten in Stephen Malkmus video.

Late 2003 is my first exposure to Res magazine. Unlike ‘I want to kill my boredome so much that it hurts’ era in 2001, let say this time I got good connectivity. Apart from IdN, Res is another music video source where I get into alot. A copy of Res mag that was sent to kampung late that year has this special feature on Resfest, a festival dedicated to all music video directors, anything in short motion visual direction. Few months later Resfest is also on the bill of IdN con (unfortunately, not in KL. Please cross the border, Singapore.) This is the moment of breathrough for Shynola when they came up with “Go With The Flow” music video for Queens of The Stone Age, that has been cited by critics as ‘revolutionary’. If you watch A Scanner Darkly, a film by Richard Linklater that hired this Rotoscopic style animation, you must have seen it first in “Go With The Flow”. I can’t even tell a difference between live action and animation, but it’s the band that actually act as a band in the video, not an animation.

Maybe reanimated.

But then, even before Frank Miller did Sin City as a full lenght movie, with it’s 3 color style, Shynola did it first, with this “Go With the Flow” video. Shynola actually got their inspiration from Sin City comic books. What a turnaround.

..
diagram 2:
1. Beck as skeleton , losing his head in “E Pro” video.
2. Fly Boy fell in love with a squirell. Homosexuality. Twin tower. Blur’sGood Song“.
3. Nintendo 8 bit got a new twist in Junior Senior ‘s “Move Your Feet“.
4. Blur’sCrazy Beat” however is one of very few live action occasion from Shynola.
5. Guerilla marketting in Radiohead’s blip. Year 2000. Very ahead of it’s time.
6. Sin City fans, rejoice. QOTSA’sGo With The Flow“.
7. Thom Yorke flood dream in Radiohead’sPyramid Song“.
8. Wardrum is very unusual in Hayao Miyazaki cinemafest. UNKLE’sEye For An Eye“.

————————————————————————————-

I am amazed with that QOTSA video. maybe because i like it to look red. i brought Jason to Hayao Miyazaki territory, because that’s how i felt on UNKLE’s “Eye For An Eye” video (I watch this ‘the making of Eye For An Eye video’ at MTV or Channel [V], I cant remember which channel, during my college years circa 2002-2003, at some cafeteria. I was stunned at it. Yeah, I skipped class.) even the visual from Pyramid Song took me deep to this pyramid city down deep in the sea. Close to Antlantis city.  Jason , however, during the conversation, is this one guy that’s easy to get along with.

Sunitha, afterall noticed that i never wrote a thing during the conversation. “I write it, … in my head.” It’s easy when you know the person and his/her works.

maybe that’s why i wanted it today. that’s why instead of having difficulty due to overloadsofwork, i still wanted it, this conversation, from zero, and end well.

I’ll try to get you Jamie Hewlett in the future…” said Sunitha.
Oh, really? How about Stanley Donwood?” said I.
Yeah, that’s an idea too…”
But if you ask me that has to be Peter Saville. He’s a legend by now. Way before Vaughn Oliver. I want to see Unknown Pleasure in hi res.”

Like I said before, we talk about Joshua Davis (co-incidetally, Tool), like there’s never end.

————————————————————————————-

Further reading:
Of particular interest to those facinated by high minded nerds making pop culture
  trash and calling it Art.”
 shynola: website obligation http://www.shynola.com/main.htm
The final screening of Antenna UK on 17 March @ Maison Club KL with special guests Jason Groves (of Shynola, the featured director at the first Antenna UK screening) and Eclectic Method.
http://www.britishcouncil.org/malaysia-events-arts-antenna-uk.htm?mtklink=malaysia-events-arts-antenna-uk
“…all you need to know in life is the difference between shit and Shinola.” Shynola on Wikipedia http://en.wikipedia.org/wiki/Shynola
Shynola @ The Directors Bureau http://www.thedirectorsbureau.com/bio.php?director_id=22&PHPSESSID=ab4b4380d49eef236d2542776152a1e7
Yes, I’ve just stopped having nightmares, so I feel ok to talk about it. “Chris Harding: CGI Society http://features.cgsociety.org/story_custom.php?story_id=1072
Vis-Ed Shynola @ XLR8R http://www.xlr8r.com/content.php?uid=3528BCFCBA4BD754F3759A35C63641E0
RES Features : Sound and Vision: Radiohead Reinvents the Music Video by Philip Sherburne http://www.res.com/magazine/articles/soundandvisionradioheadreinventsthemusicvideo_2003-05-23.html
Why animation?” http://www.bbc.co.uk/dna/collective/A1159139
The Best Music in Film w/ Chris Harding (Shynola) http://www.bfi.org.uk/sightandsound/filmmusic/detail.php?t=d&q=45

in seeking of Gary Talpas

  • It would be very very nice if someone can give me informations about the guy who made the sleeve design of Pretty Hate Machine : Gary Talpas. Is he still alive? What is he doing today? Maybe someone can give me a picture of him? Any Web-Links?

from Cleveland.com : Trent Reznor: Area Co-conspirators

Gary Talpas Cleveland artist/designer who designed the sleeves for “Down In It,” Pretty Hate Machine, “Head Like A Hole,” Broken, The Downward Spiral, Further Down The Spiral, “The Perfect Drug” Versions, Closure; responsible for look of all early NIN materials.

In the Nursery : Koda  01/01/1988

…Gary Talpas‘ explanatory liner notes read practically like those of a ‘normal’ classical release; if the intent is ironic, it’s awfully hard to tell…

from case file of Russell Mills of RussellMills.com

… the phone ringing burst the peace of the moment. I answered and found myself in a conference call with three people speaking from USA. They represented a hugely successful and influential American group called Nine Inch Nails. Their designer Gary Talpas was talking from his studio in Cincinnati…

Gary Talpas talked about how he wanted the imagery to dominate, the typography to be minimal and the overall design approach would be spare and restrained…

…Almost immediately I was to meet Gary Talpas to spend some time together to talk about the commission and his design direction. He drove me out to the beach where Baywatch used to be filmed. I was totally underwhelmed and really disappointed by what we found. Instead of the sun-drenched golden sands populated by lithe bodies, I found a grey, dull beach, almost totally devoid of people, certainly no sexy bikini-clad beauties or bronzed body builders. It was littered with empty beer cans, scraps of paper and miscellaneous detritus; it looked inhospitable and hygienically unsafe. It was dismal. We returned to the hotel for some beers prior to our dinner meeting with Trent and some other members of Nine Inch Nails…

…Soon after he and his band mates departed and Gary and I continued to drink and talk for about half an hour before he too had to leave…

from Underworld soundtrack credit:

… Danny Lohner is no Trent Reznor when it comes to putting together soundtracks, but he comes a hell of a lot closer than the artwork-illiterate Roadrunner hired comes to Gary Talpas (Nine Inch Nails, Natural Born Killers, Lost Highway, Marilyn Manson, etc.). How about putting the song titles on the back cover of the record, fruitcake? Apparently he was so ashamed of his ‘creation’ that he didn’t want to have his name mentioned in the credits….

from INFINITE HALO: Copyright Concerns

…just to be safe, the original NIN logo is, to my knowledge, the creation of Gary Talpas and/or Trent Reznor. And I think it rules…

Q&A about NIN logo

Question submitted by Samuel:

I’m a student of graphic design and a year or so ago I found myself in a conversation about logos and symbols with my professor. At one point, we were discussing the logo for nine inch nails and how it is easily the most recognizable symbol for any band in rick history. However, there is no information about who designed it. So my question is, who designed the symbol and I was wondering if you could give us any information about its origin.

Response from Trent:

Gary Talpas and I came up with that back in Cleveland. I was inspired by the Talking Heads type on the “remain in light” album. I was looking for something that I could sew on the side of my leather jacket (see “down in it” video).

Excerpt from Networking In the Music Industry
1993 Interview with John Malm

Trent has proven as an artist that he knows what he is doing. Everything was a fight at the former label; we always got what we wanted, but a decision that could have been made in ten minutes would literally be dragged-out for months.

Will you give me an example?

Just the art work for the album was a six-month battle. We ended up with what we wanted originally, by the artist whom we wanted originally: a guy by the name of Gary Talpas who has also been with us from the beginning. That was a fight because Gary was from Cleveland so he couldn’t possibly know what he was doing. Insulting stuff like that.

on the origin of NIN logo:

Gary Talpas and Reznor designed the Nine Inch Nails logo that first appeared on NIN’s debut, “Down in It” (which consists of the letters “NIN” set inside a border with the second “N” reversed), inspired by Tibor Kalman’s typography on the Talking Heads album cover for Remain in Light.[10] Talpas would continue to design NIN packaging art through the 1997 double VHS Closure.

Cover Design on Down In It :

Now this I like, I’m a big fan of minimalistic approaches, and that is what this sleeve is, minimalist. From an angle you can see dark gray lines piercing the images on the outside, back and inside sleeves. Created by Gary Talpas / Fohn.

 

in the end, i could never find him. like a last line from Underworld soundtrack, he’s so ashamed he never want to be creditted.