Judging a Cover By Its Cover: Seabear “The Ghost That Carried Us Away”
March 19, 2008 by John Foster 
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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) as well as a monograph of Sub Pop’s Art Director, Jeff Kleinsmith, slated for publication by the label in 2008.
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:
Seabear “The Ghost That Carried Us Away”
Is it worth listening to no matter what it looks like? Early in 2007 Ed Droste from Grizzly Bear turned me on to a few acts (most importantly Sleeping States) and I have been trying to return the favor ever since. When I discovered Seabear while checking out fellow Icelandic Morr Music compatriots Benni Hemm Hemm, I thought I finally had someone he could not possibly have heard of. They are from Iceland, signed to a German label that specializes in electronica with little in the way of music out just yet. The lilting piano lines and skittering drums and occasional banjo/horns etc… complimenting the strummy guitar – it all seemed like something Ed would love. Especially when he heard that it was a one-man operation that had expanded to realize the vision of the songs much like Grizzly Bear had. You would think I could have taken a hint from the “bear” portion of the name. Not only had he heard of them - he had collaborated on some early songs with Sindri! My search would have to continue but it did serve to heighten my anticipation of their debut.
When it arrived, I was not disappointed. The disc reveals simple pleasures in its quiet corners with hushed vocals over very full yet subtly shifting backing. From the opening cavorting piano line of “Good Morning Scarecrow” shifting to the laid back country of “Cat Piano” you just know there will be no weak tracks to follow. The disc really comes together in the middle with the one two brush (punch seems too violent for this music) of “Hands Remember” and “I Sing I Swim.” A slow pulse surging into a hesitant strum before enveloping you in sleepy joy, “Hands” drifts along like a perfect late summer eve. “I Sing” kicks things up, much like throwing the covers to the side and bathing in the sunshine with a little smile on your stubbly face before rising the morning after. The break of bird-like noises only serves to reinforce the vibe. Later a violin will enliven “Arms” and a Sufjanesque chorus will rise up to close out the day via “Seashells.” Highly recommended for fans of Mojave 3, Sufjan, Grizzly Bear and other more adventuresome bands that are currently exploring the acoustic frontier.
Credit: “Cover Design by Human Empire ”
Any signs of creative interference in the design process by the artist? No but the label is tied closely to the firm.
Does the look fit the sound? Human Empire, Jan Kruse and Malte Kaune, have aligned their firm with some of the most courageous designers working in music today. From their Hamburg base, they have produced numerous stellar pieces for Morr. Most of it has had a “techy” feel much like the music within. They have loosened up a little on illustration projects for the label but it still held a clean edged sort of look. In conjunction with the mood of the music, the duo opens the floodgates to reveal a striking capacity for simplicity while executing a handmade illustration - that on close inspection seems to have been done with marker - yet feels like watercolor. Their oddly light handwritten tracklisting only adds to the beauty. The little touches delight (much like in the music) in the blue mixed with red to make purple in the “be” portion of the title, the triumphant bear holding fish aloft on the back, yet his head downward with closed eyes as a curious little bird watches. My only quibble is that the cover seems to be the least interesting panel of those available.
Inside the bear emerges with just the bird on what seems to be a piece of wood. The change in color suggests that this organic illustration may in fact be primarily the product of the computer but you would never know it. The colors seem applied in such an oddly intuitive way all throughout. Every time I start the disc up to the sounds of birds chirping, the whole thing seems simple and perfect.
Final score (out of 10): 8.0 design (8.0 for the music)
