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DISC COVER: Wild Nothing, “Empty Estate”

By Staff on May 31, 2013

 

DISC COVER: Wild Nothing, “Empty Estate”

Wild Nothing

Empty Estate

(CAPTURED TRACKS)

 

Wild Nothing's Jack Tatum explains the significance and inspiration behind the artwork for Empty Estate...


I didn’t do this one. This one was this artist Eric Shaw, who lives here in New York, in Bushwick.


I finished the EP and was trying to figure out what the artwork was going to be. I was talking to my friend Dustin [Payseur], who’s in Beach Fossils, and he was telling me he was friends with this guy Eric. And he was like, “You know, I kind of feel like this guy’s paintings sort of look how this EP sounds.” That was intriguing for me. So I went and looked, and just loved it. To me, it’s like Kandinsky pop art or something; weird and surrealist pop art. I was feeling like this EP was kind of pop art in a way, especially songs like “A Dancing Shell” or “Ocean Repeating." At the time, the whole reason why I was excited about those songs was because I felt like they were extremely poppy, but I had also tried to mess them up as much as possible to have these moments that are sort of weirder or more off or something.

 

We got in touch with Eric and he was interested and basically just gave us full access to any of his paintings. Ryan McCardle, who does a lot of the design and layout for Captured Tracks, and I went through a bunch of the paintings of picked out particular ones that we wanted. We kinda just went wild. 


Also, at the time, I was very interested in Japanese graphic design and record design and a lot of stuff like that. So, I decided that I wanted to do this obi strip, which is the strip that’s on the side. It’s just sort of a weird, little thing that probably seems irrelevant to most people. It’s funny, we were actually in Japan and I told them that’s what we were going to do, and they were just like, “Uh, what?” because that’s normal, that’s just what they do over there.


I care a lot of about the design, I care about the whole package, I care about the way the artwork looks in relation to the music. Because I did the whole design and layout for the first record [Gemini], I've always been involved with [the process] since then. It’s not the kind of thing that I’m ever happy to just turn over to someone else, I always want to be involved with it somehow.  F

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