Kasabian - West Ryder Pauper Lunatic Asylum - The art of Design - PART III

Well, now we reach to that part where everyone of us surely admires. Who never hold a LP, CD, K7, etc and observed the art work and was influence with some besides the musical content. For a better understanding on this task, I’ve asked Tom Skipp a couple of questions about his work on this record. I hope that – as I did – you all better understand the story and the real concept of this “West Ryder Pauper Lunatic Asylum”.

KING_LEER (KL):

To readers fully understanding, explain please to us what is the role of a graphic designer on a musical work like this one?

TOM SKIPP (TS):

A Graphic Designer's role can be very different on music projects. With Kasabian and this project I was very involved. When I joined the project there was a loose idea derived from the name of the album "West Ryder Pauper Lunatic Asylum". I began discussions with "WIZ" (Andrew Whiston) on how we could make this album feel like a collection of things that could've been found at the Asylum. WIZ had collected many images, objects and quotes as reference which led me to explore some surrealist concepts and also optical illusions. Also I looked at various ways to compile this apparently disparate collection of imagery. We then carried out the shoot, for which WIZ enlisted the help of costume designers and prop stylists. I also documented the day of shooting and took my own portraits of the band on an old Polaroid Land camera, some of which can be seen in the album art. When we had collected the imagery it then became my job to make things reality and deliver everything in a printable format to the record company. With Kasabian there were many different formats and surrounding marketing to deliver, my working hours became 24/7 during this time.

KL:

Who approached you in order to get along in this Kasabian's project?

TS:

I was contacted by the head of Creative at Sony UK. I was invited for a meeting unaware of what the project would be and then asked whether it would be a project that interested me and whether I could carry it out successfully. I think I was chosen due to the abnormal nature of the project and my history of working with people notorious for their unconventional working methods.

KL:

How was the creative process? How did it work? Did you received initial instruction from the band or management for the path they would like to follow? Tell us a little bit about the story of this work of art.

TS:

When I joined the process WIZ and Serge (Sergio Pizzorno) from the band had already been playing with concepts. There was not a strong visual direction from the record company but I kept them well informed throughout the process, making sure they were happy with the path we were taking. The creative direction came from WIZ and that was translated from the band. So I became the communication conduit between the record company and WIZ, but in this role I also had to translate what became our ideas into something tangible. It was not easy, as WIZ is a prolific Video Director so would be very busy during this time and neither of us had a permanent office, let's say the process was fluid.

KL:

From all Kasabian members who was the one that followed the creative process with more attention?

TS:

Serge took the most interest in the artwork, I don't think it's that the others didn't care what it looked like, I think they trusted him to take the lead. This was very refreshing as there appeared to be one decisive vision. I think that Serge also respects the people that were installed to carry out the work, he trusts WIZ and that trust was also given me. Serge was very open to our ideas and we were open to his. Compared to other projects this felt like a genuine creative collaboration.

KL:

I'll post also links to your website but as a final question tell me a little more about your background, future projects and how it was to work with Peter Saville?

TS:

I have worked in graphic design for 9 years. Starting at university where I did a very short placement at Form (http://www.form.uk.com/). Then I spent a summer at v23 with Vaughan Oliver and Chris Bigg. When I graduated from university I got a job at v23 and also with Peter Saville. I worked 2/3 days a week at each, neither of which are what I'd call 'normal' studios. I've meandered along many a path in between then and now, working at many different places including Big Active, Blue Source, Love, Gap and many others! Working with both Vaughan Oliver and Peter Saville gave me a great start. After working in London since graduation I moved to Paris in the summer of 2009 and have started to make working connections here, while also still working for clients in London. Paris is a new challenge firstly for language and then to build clients and working relationships, who knows what the future holds!

Relevant links: http://www.tomskipp.com/

THE END

"FOLLOW ME" ALSO ON FACEBOOK

Hi,

While the third part of the work on the last Kasabian's record is not published, this time around design and graphics with Tom Skipp testimony (www.tomskipp.com/index.php?/new-work/kasabian-tour-brochure/), you can follow my suggestions and more through facebook using this link : facebook.com/LuisGraca.Kingleer.

Thanks,
King_leer

Kasabian - West Ryder Pauper Lunatic Asylum - The Wired Strings....on board - PART II

One of the important elements of this so called "Asylum" were the Wired Strings that along with Serge, Jim Abbiss brought an additional element to this record. Rosie Danvers, the creator of this project will bellow explain us a little more about their contribution to this excellent piece of work. By reading the full interview you will also reach the answer to the challenge presented on the part I of this work.

Hope you like it.

P.s. The above photos were taken from the Wired Strings website (see link bellow for further information) and all the credits belong to the individuals or companies mentioned there.

Link: http://www.wiredstrings.com/

King_leer:

• Rosie, I believe this was the first time Wired Strings worked with Kasabian. Did the band contacted you or was through the producer?

Rosie Danvers:

I was contacted by Jim Abbis, the producer. We had worked on Adele’s debut album ‘19’, together.

King_leer:

• This question and the next are a little bit as a tutorial to the readers:

What is basically the art of strings arrangements? In this case Serge wrote four string sections and you arranged them, right? How does the process works? Do you have access to the whole track or work only mainly on the string section?

Rosie Danvers:

I would never profess to know what the art of string arrangements is. As an arranger, I feel like an additional member of the band, I am another instrument. I always enjoy the challenge of adding an emotional element to a song that wasn’t there before.

In this case, I was sent the tracks prior to the session and proceeded to score out string ideas for each track. Serge knew where he wanted strings in each song, but many of the string lines you hear on the album, were born out of the quartet’s improvisation during the session. We were given direction by Serge and Jim, and then improvised ideas and picked out lines until Jim and Serge were happy with what they were hearing. It’s a very organic process working in this way and really creative for everyone involved. The lines were not written by one person, they were a product of everyone’s input. We were all writers and arrangers that day.

King_leer:

• On recording – you where at London for that purpose – All the strings were recorded separately from the rest of the instruments right? When recording the performers hear the rest of the track as guidance or is not usual?

Rosie Danvers:

The string session took place at Mayfair studios in London.. The tracks had already been recorded and we used these for guidance throughout the session.

King_leer:

• From the four tracks what was the one that “pushed you to the limit” from the arrangement side and from the performer one. My Guess is track #2 “Where did all the love go?” with the all the strings section following the grooves and moves of the track.

Rosie Danvers:

Yes, ‘Where did all the Love Go’ was the most challenging, partly because Serge had asked me to score out his guitar solo and we then had to replicate it, which was great fun!

King_leer:

• I believe you have recorded them in February 2008. Since the record was released this summer does that cause you any kind of anxiety expecting the “child to born “ and hear the final results?

Rosie Danvers:

No, anxiety doesn’t come into it! It was a very enjoyable session and I was really proud of everything we had contributed that day. Our ideas were strong and the quartet sounded great. Serge and Jim were very easy to work with.. It all felt a bit like an experiment that turned out well. After a session I let go and move on to the next project. What will be, will be.

King_leer:

On Wired Strings only :

• You’ve started this project back in 1995. What moved you in order to create this great project?

Rosie Danvers:

I felt there was a need within the industry for a string section that could bridge the gap between classical and pop musicians and work directly with artists and producers. Over time, this has since grown into a symphony orchestra, and enables us to utilise all the instruments of the orchestra within a pop and hip hop context.

King_leer:

Quoting your website: “STYLE and individuality play a big part in Wired Strings”.

Being so, this is one of the major reasons why Wired Strings perform for many musicians from rock to Hip-Hop (since it’s also very important for the live side on this kind of performances)?

Rosie Danvers:

I think image is an important part of live performance. When I go to a concert, the visual elements of it are very important to me. I hope that Wired Strings enthusiasm and passion for what we do, is conveyed in our performance.

King_leer:

What are the Wired Strings next projects? Any new experience in the near future?

Rosie Danvers:

I never talk about future project before they happen!

THE END OF PART II