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Last Updated:
Mar 19th, 2008 - 07:43:02 |
Designing Pas/Cal's World
New York designer Sean McCabe, who has created album covers for
Interpol and Spoon among others, came to PAS/CAL as just a big fan.
Then, after brunching with two of the band’s members via a mutual
friend a few years ago, McCabe became the man behind the group’s
intricate look. For most bands, the visual aspect (album covers,
T-shirts, posters) of music is an afterthought; for PAS/CAL, imagery is
a vitally important element of their
immersed-in-an-idealized-world-unto-themselves appeal. Here, McCabe
reveals the story behind PAS/CAL’s visual style and their complex
Christmas album cover [pictured above]:
“I believe the overall look and visual aesthetic of PAS/CAL is really
the sole result of all the individuals in the band and myself, plus
whatever friends, family members and lovers we ask to help us out at
any given time … A good
example of this collaborative spirit was when we decided to release the
first split 12” for Romantic Air last holiday season … PAS/CAL were
interested in doing a special holiday release [with NY band Asobi
Seksu] …
I had an instant vision of replicating both bands as characters in some
fictional ‘60s Rankin Bass animated holiday special. I explained my
idea to each band, and was quite honestly given a lot of perplexed
looks — and rightfully so, as I had never created anything like this
before, not to mention tried anything on the level of technical
artistry and time it would take to actually make something as it
eventually ended up being.
So the visual concept was initially created by me, but then I had to
sit down and make the damn thing. I was at a loss and overwhelmed. I
realized I needed help. I rented DVDs of those old Rudolph specials and
Gene and I watched and studied them, and all along I tried to figure
out how we were going to do this. What ended up happening is probably
the single most amazing experience in generosity and collaboration I
have ever experienced professionally.
We realized I could not do everything myself, like I often do, so Gene,
Bem, my girlfriend Annie and a friend of Asobi’s (Jenna, who happened
to be a pastry chef — perfect for making a gingerbread house), all
worked for two solid months making everything you see in that
photograph on the cover.
We made everything from scratch, down to exact replicas of both bands’
instruments and clothing. Each figure was sculpted by hand, clothed and
outfitted with their respective instruments and each one stood about
six inches tall. A month and a half was spent just making these
elements, every waking moment, evening and weekend, until we had
everything made. We then constructed a set on my kitchen table, I lit
the entire scene, photographed it and we all crossed our fingers. Once
I got the film back, I then proceeded to paint in the background and
falling snow and began to design and assemble all the elements together
in the package, all along with input from Gene, Bem and Annie … I ended
up taking all the photos, making the typefaces from scratch by hand,
and designing the entire package — but I firmly believe credit goes to
all of us who worked on it.
The most amazing aspect to this long story is that none of us got paid
to do this — it was a true labor of love, not to mention a phenomenal
effort and attention to detail. All this, from the recording of the
music down to every last detail in the packaging went into creating a
special and lovingly handcrafted product. I challenge anyone to name
ANY bands working today that would have the patience, sincerity and
talent to pull that off. It shows you how much PAS/CAL, Asobi Seksu,
our friends and loved ones and I care about such assumedly trivial
things. We ended up making something that we would actually want to
buy. I have never been more proud.” | RDW
To see more of Sean’s work, visit: wider-than-pictures.com.
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