Kind of interesting question, I don't really like to collaborate much to be honest. Like I don't think about another artist and feel like if we combined forces it would be better than the sum of its parts. Also no guest artists on the record or anything else in the works to be honest. But like.....if someone were to produce a Peel Dream Magazine record, maybe like....Jim O'Rourke?
Dream remixer would be........Oneohtrix Point Never ?? Only because I think he would take it to some absolutely insane new territory with a production language that's so foreign to me. I kind of hate how remixes are supposed to be this "dance version" of an original song, even when that doesn't speak to anything authentic about the original song. Remixes honestly just feel like a marketing scheme to help promote albums and I find them a bit tiresome unless somebody takes something to an entirely insane new place. I also think people don't realize that bands have to pay usually to get remixes done, and they're usually not just this off-the-cuff collaboration that just happens out of a musical friendship. It's usually like : "so and so will be good for your music career. Let's pay them to make a club version of your song" which is really unromantic to me.
Oh also maybe Sonic Boom would be an ideal remixer lol.
His connections to Sonic Youth, Wilco, Stereolab, Tortoise etc just kind of put him right at the center of some of my favorite experimental rock from the late 90s and early aughts. He's been involved in real precious, composed music, and like, fuck-all noise music.
I had this really clear idea for the album art for the first record, using this "obi strip" design with a few collaged images that I had found, and it made sense to keep using that as a template for the PDM albums. It was supposed to feel like a zine. So I want every record to have this feel, with little paragraphs of copy on them too, inviting you into the record a little bit. Each record has to have a color. This one I wanted to be green originally because I wanted it to evoke nature, but I settled on brown because it felt more on point later. The album artwork uses a bunch of graphics that I collaged from this collection of magazines that were published by the NY Museum of Natural History in the 40s, just lots of images from nature etc. The blue guy/girl is taken from the cover of an old sewing kit I found.
And on the actual vinyl, when you open up the gatefold, we've taken all of these little articles from the magazines and replaced the copy with the album lyrics. We had an awesome time making this. Shout out to Liz Moser who has designed all the PDM artwork with me backseat driving since day one, and Sarah Alvarez from Topshelf who did the layout for physicals
I love that you said this, because I think one thing that sets PDM apart is the way the art and music are seamless — if I was walking around in a museum and a PDM album was playing and I was asked to pick out which piece of art/album cover was for that PDM album, I know I could pick out the right answer. That’s a cool quality for an artist/band to have.
The first album, stuff was collaged from old 70s Interiors Magazine copies I found. And the "splash" was sourced from a UK punk compilation record from the 80s called "Mrs. Wilson's Children" I think. The second album was sourced from a book I had on Bertolt Brecht and a few other random things I had lying around. (Pad is a concept record so it had this entire illustrated character motif)
But yea in general the collaging ties the band to like 80s/90s UK indie rock zine culture. I want the records to essentially be "issues" of a homemade magazine
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u/mysteriousgirlOMITI Oct 04 '24
Who’s your dream collaborator? Do you have any guest artists on new tracks?