By Jules Saggio

by Jules Saggio

Sometimes I listen to a song and try to ignore the album cover because it negatively affects my listening experience; I find myself immersed in others, discovering hidden meanings and deriving a new perspective on the tone that it sets for the music.

The artwork for the Beatles 1996 album Revolver immediately comes to mind. The cover displays a black and white sketch of John, Paul, George, and Ringo’s faces. Their eyes face different directions while smaller photographs of the members are strategically embedded throughout the square space. Found front and center is an image of Klaus Voormann, the artist who created this cover. This subtle inclusion reminds the audience exactly who and what factors contribute to an album’s impact beyond standard vocals and instrumentals.

Visual artist Quinn Donnelly delved into the collaborative process between a musician and artist to create the “perfect” album cover. Donnelly is currently designing Emerson musician JOBIE’s upcoming album cover.

“First, I ask [the musician] what their favorite album covers are and what they like about it. I specifically asked [JOBIE] for a color palette and a typography that they’d be comfortable with,” Donnelly said. “I asked her to describe her music using really descriptive language so I can create an aesthetic that matches the sonic aesthetic.”

When working alongside musicians, cover designers need to capture the true essence of what an artist wants to convey from the outset. While the adage “don’t judge a book by its cover” is true in some ways, it must be recognized that when music was only available on vinyl, for instance, the album’s jacket was the first mood setter for potential listeners.

“The album cover is basically the first thing that you see; it’s the face of the music whether or not people want to think it is. Choices like whether or not to put a face on an album cover are huge,” Donnelly said.

Like a PR rep, Donnelly gets a sneak peak of JOBIE’s unreleased tracks to get a feel for the album’s tone. This insight expands the interpretive possibilities, helping them work even more intentionally. Donnelly works to match the delicate atmosphere found in JOBIE’s sweet vocals and soft acoustics, revealing a lot about what stands out to them as a listener. They feel their own creative voice must always shine through on cover art, their aesthetic expression being a large reason why the musician probably chose them for the task to begin with.

“In order to make something I’m proud of and to make something the artist is also proud of, I have to put [my own style] in…music is an inherently collaborative art,” says Donnelly. “The visual artist is responsible for getting people’s attention, for getting people to listen to the band in the first place. It’s a huge job,” Donnelly said.

Donnelly describes their style in one word: obnoxious. They love loud, clashing colors. One of their main artistic muses is Nick Gazin, who does a lot of cover art for the hip-hop duo Run the Jewels.

Gazin’s colorful, rough cartoon style captures the essence of the duo’s underground hip-hop sound. Distinct patterns and overall memorability of the work from consistent cover designers makes the artist’s vibe more fluid and unique.

Some artists purposefully prioritize consistency when it comes to who is a part of the collaborative process. Emerson musician Ezra Foley explained that he works with one of his closest friends for all of his album cover photography.

“I have my best friend [Lain Becker] handle all of the artwork. He’s someone who can [carry out] the emotion I want to evoke. He gets pictures that bring out what the textures in the songs are,” Foley said.

Foley explains to Becker that his vision is for the artwork to replicate the feel that the chords in the

songs give and the lyrics he is singing. Foley knows he can fully be himself around Becker, staying true to his musical integrity. He isn’t “afraid to go to the extent of making myself feel vulnerable when explaining what the song is about.”

Foley likes to be presented with a question upon seeing album artwork. “One of my favorite albums of all time is Joji’s Nectar. Immediately [you notice] the textures of his face, and you can see there is something there [you have to discover]. What is he trying to say? It inspires curiosity,” Foley said.

Foley entrusts a tight-knit circle of individuals with his music, Becker being one of the few involved with his work from the beginning to bring about this kind of question.

“When it comes to fruition, it’s executed a lot better when you know the person,” he said.

Though I don’t always want to admit it, album covers set the tone for the sonic elements of the music. I subconsciously form an opinion on the music before listening, depending on if I identify with the style of the cover. While the artwork doesn’t form my final judgment on the music, it does impact my motivation to check out a new artist.