Illustrated Tapes 094: Bleedin’ over it now thanks

Curated by Caitlin Angell
22.01.21

spoti.fi/2NqBdYn



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Caitlin is an illustrator based in Dorset, UK.

Hi Caitlin. Can you tell us a little bit about your tape and your song selections?

Hello there! This mish-mash of a tape shows my journey through a year of musical frustration, beginning with the bands I missed seeing in 2020, followed by a selection of songs that make me desperate to be in a sweaty packed venue full of fellow fans having a proper boogie (or alternatively really feeling the full emotional force of music as it’s supposed to be seen and heard).

Then there are tracks that have inspired my band’s own songwriting, making us desperate to be in front of an audience ourselves, moving onto the live concerts and sessions that have had to replace the real thing, and finally, a few examples of brilliant home recordings by a couple of my favourites.

What direction did you take with your cover art, and what was your process?

As my uni tutors would love to hear, I did a good amount of thumb-nailing, trying to best capture the divide and isolation the pandemic has caused between me (and many others) and the unreachable things we are most desperate to experience again.

I’m classic Caitlin style, I focused on the detail, with a lot of symmetry and colour, trying to express the general feeling of distance and dystopia, whilst hinting more explicitly towards the pandemic with hand sanitiser pools, mingling breath and two metre rulers.

Although it's not necessary to know, I’d also like to point out that the band at the top of the piece are modelled on my own (all bald of course…), so it’d be cool if anyone managed to guess what make the guitars are!

What are your fave album covers, records with a great music and artwork combo, or musical projects with a visual component?

I think this may be quite a generic answer for anyone into the jazzy/psych-ier side of music but I have recently become obsessed with La Planete Sauvage; as can probably be seen in how I’ve drawn the weird alien characters in my artwork. I knew about the artwork before I realised how incredible the soundtrack is too. Both these elements paired with the story and animation is an absolute treat for the senses, and any musician or illustrator really has to add it to their watch (and listen) list!

La Planete Sauvage
1973
Dir: René Laloux

In a similar vein, I recently purchased a copy of The Point by (Harry) Nilsson, having no idea that the artwork was crosstiched and not illustrated until I saw it in the flesh! It’s such a sweet album/story and my record happened to come with a comic to go with the musical narrative, illustrated by Nilsson. It’s such a cool thing to own, and although, for me, it has difficult emotions tied to it, on the occasion I bring myself to put it on, it’s really cool to have such strong visuals to go along with the tunes.


The Point - Nilsson
1971, RCA Victor
Artwork: Dean O. Torrence, Kittyhawk Graphics


What did you listen to growing up?

God, everything and anything. My parents have a brilliantly varied music taste, with my dad being into punk, thrash, garage and hip-hop and my mum liking softer (but weirder) things, with a very cool selection of favourites in the realms of psych/folk/baroque-pop. The first song I ever remember hearing was “Oi to the world” by The Vandals, with Rancid and Super Furry Animals quickly becoming my favourites before I hit primary school.

My final major project (to be polished off and shown to the world soon) was actually a timeline of music through my life, which was a super interesting delve into my shift in tastes to the present day. I think I am now truer to the music taste I had when I was four than the bands I liked in my teens (this is definitely a good thing).

And what’s on heavy rotation for you at the moment?

As always, Osees/Thee Oh Sees/Oh Sees/OCS etc etc are consistently in my ears, especially one of their latest releases; Panther Rotate, which also crudely crawls its way onto the list for favourite album artwork.

Other than that crazy bunch, Dots and Loops by Stereolab, Aerial M and Mother Earth’s Plantasia by Mort Garson grace my headphones possibly too often, with Nehruviandoom (MF DOOM), Ege Bamyasi (CAN), Safe as Milk (Captain Beefheart), and It Is What It Is (Thundercat) being regularly taken from the record collection and onto the turntable.

What’s happening in your creative world at the moment?

Sadly I haven’t had loads of time for the drawing side of things lately (but with plenty of ideas waiting to come to fruition) due to working in retail (eurgh) and trying to find somewhere to move into with my partner. Luckily a lot of my free time has been spent in a (currently unused) record store, practicing and writing music, which has been a long time coming. It’s been brilliant to finally have the freedom to make some noise, especially with my new amp setup that would quite possibly blow the roof off the house at 0.1% power...

Where can we find you?

I’m on Instagram and Twitter under @illustraitlin and my website is caitlinangell.com

Thanks Caitlin!
Mark