John Foster takes music packaging very seriously. He has deconstructed the design of the recording industry through his personal work and his books, Maximum Page Design (HOW), New Masters of Poster Design (Rockport) and the upcoming For Sale: Innovative Solutions in Packaging Design (HOW) – out now! As well as a monograph of Sub Pop’s Art Director, Jeff Kleinsmith, slated for publication by the label in 2009.

He will be poking and prodding various albums on a weekly basis so please be sure to keep an eye out!

This week’s victims:

Ikara Colt “Chat and Business”

Is it worth listening to no matter what it looks like? I miss Ikara Colt. I didn’t know that I would. To be honest, I was certain that I wouldn’t – but I do. I suppose that was the point, yet it still stings. Breaking up after only five years and a small clutch of releases, the group of London artschoolers declared an intention to end things before they “turn into some old, tired and jaded outfit” and then they did the unthinkable: they stuck to it. Bastards!

Underappreciated while they were with us, their tale is a fresh take on a classic formula. Band forms at university around likeminded kids in their art classes, band draws few to their gigs but one happens to be the influential Steve Lamacq, band is championed by John Peel (still sorely missed) and gets record contract. Often things would fall apart at this juncture. Weak debuts only exaggerated by groups that far outstay their welcome. Ikara Colt turned things on their ears with their blistering urgency and made vital songs that seemed to roll together the best influences available, with none of the fluff. Like some magical boxer that delivers the sweet science for two rounds, leaving his opponent battered and dazed, only to walk away rather than deliver the ugly (and unnecessary) knockout blow and start accepting the sponsorship money. Better to be good than famous.

They also wrapped their music in a stark graphic palette that was in contrast to the releases hitting the shelves around me, further sticking out from the pack – but more on that later.

Luckily, we have the short discography they left behind to relive that burst of wonder. You can see a number of post punk legends passing through their record collections, but the music reminds me more than anything of the current version of Wire in it’s minimalist grind of chords and snapping crisp beats combined with modern electronic flavors – all without smothering the sound in the least. In that philosophy, they most resemble Gang of Four without the funk. You can certainly anticipate at this point that a barking front man is around the corner and Paul Resende more than fits the bill. “One Note” is just what it purports to be with a thumping back beat and snotty vocals carrying the shift in notes as the guitars come and go in noisy chunks. The rhythm section barely catches a breath before kicking into the paranoid “Rudd.” The doubled vocals from Claire Ingram serve to punctuate, rather than sooth, and the twin shout works wonders. “Bishop’s Son” sports a bass plunge masquerading as a chorus as well as simmering drum builds. Speaking of drums, “City of Glass” is a thump and bash workout with dubby bass and peeling guitar in minimal, but effective doses. Here they come off as a junior version of Fugazi via the UK education system.

“Pop Group” stretches the vocal range a bit to good effect and “Belgravia” is all thundering chords. “Sink Venice” jumps out of the gate with frenzied bass and rushed drumming before settling in with simple guitar notes laid on thick as molasses in just the right places – before freaking out a little again. “After This” rolls much of it together and features the repeated record title coated in disdain in the chorus. “At the Lodge” is the first instance of the electronics taking center stage with a HollAndesque intro before climbing into a locked groove a la Flin Flon. It reminds me how the same touchstones exist for some of my favorite music, whether it is homegrown or overseas. “Here We Go Again” is a swirl of bass-driven energy and “May B 1 Day” takes it all to the throbbing conclusion with thundering drums (has to be double bass) and pulsingly busy bass and Resende’s dry delivery. “Video Clip Show” then comes on with a drumroll and distorted burst to finish things out – or does it? A very long wait reveals a guitar heavy bonus blast.

Credit: “Designed by Praline. Photographs by Ikara Colt”

Any signs of creative interference in the design process by the artist? Not really, but they do include their own photography – albeit in a non-obtrusive manner.

Does the look fit the sound? It most certainly does. UK stalwarts Praline wrapped the group in a minimal look that perfectly suited the stripped down music, and the black and white color palette displayed here firmly captures the dark nature without being “goth” in any way what so ever.  Simple layout and type choices are displayed to perfection - showcasing how difficult this brand of Swiss grid-based design can truly be when so many others have failed with a similar approach. Their brand of refined minimalism has made them a favorite of museums and architects.

Putting together a “make your own” package by laying out a grid of squares, much like a photographer’s contact sheet, and giving each it’s own little caption – the user then gets to choose from a batch of 24 self-adhesive stickers: Black and white (of course) and clearly selected from the band’s personal archive with the songs inside in mind. Each person then gets to manufacture his or her own version while still retaining every little bit of the desired visual. Part of me wishes the images available were more engaging in their own right but then I realize that the whole is much greater than any one piece and the entire thing would fall to the ground. 

A few really nice touches occur in this design that should be noted. The disc is designed to seamlessly work with the overall look while still be a strong bit of layout in it’s own right. The uncoated paper adds a dullness that further enhances the aesthetic and makes the white sections in the spines that inevitably show through in this digipaks to actually work as an element of the design. It is pretty rare when I can list that as little more than a distraction where as here it is a notable strength.

My favorite part though is the most subtle; The pull to center the cover grid must have been immense. Using a grid system begs that everything should align proportionally yet Praline resists, instead choosing to hug the grid’s border on three sides with the squares and title, while leaving the left side dangerously bare. The whitespace  (or should we say blackspace?) seems to lurk alongside the elements as if ready to pull them towards it at any moment. It is a simple bit of tension yet oh so effective – much like the construction of Ikara Colt’s too brief discography.

Final score (out of 10): 7.5 design, 8.0 for the music 

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