I don't mind Wozencroft's cover, but I don't think, semiotically speaking, it represents the sound or concept as articulated by English. As Mark suggests, there are already more than enough neo-romanticist
oceanic/marine images on ambient/soundscape albums to have made it a cliche of the genre. Given that the keynote of Kiri No Oto
, if one were to look for a more direct iconic or indexical 'sign', then something more like this kind of image might work better (perhaps passing on the ghoulie'n'ghosty figures):
Taking the Pjusk as a sample of a proposed 'different view':
I don't think Deupree's 12k aesthetic, strong as it is, would be particularly well-suited* to the sonorities of the release under discussion, especially with the enhanced clarity and clean-lined almost hyper-realism of the visual imagery
(*n.b. not that I think it was being proposed by either Mark or Jason for specific deployment here... more as part of a general exploration of views on the linkage of differing styles of 'visual art' to 'sound art').
Here's another example, this on the Line sublabel, but still in um... line with the 12k 'look'n'feel':
Too stark. Too clear. Too well-defined.
required. More out of focus
, or melt/fade
-type stuff would be in order.
This Line design, however, might fit the bill:
On balance, I think something like this that's a sort of modulated
naturalistic representation bleeding into abstraction would be what I'd be looking for if I were the artist being consulted re: the Touch
-ing up of my sound work.
Now the Label Supremo who ideated/authorised this one was more in tune with suggestive sound-visual linkages: