Storm says: ' This was the second design for Pink Floyd after A Saucerful of Secrets. It was an attempt to represent the many different layers in their music. No ephemeral pop band this, therefore no trivia, instead wheels within wheels, layers beneath layers, tunes replete with meaning and all this, for heaven's sake, in the same music.'
Storm says: 'A band from the 80s consisting of three very different characters – Steve Ellis, white from up north, Nick Beggs, lately of Kajagoogoo, white from down south, and Austin Howard, black from London but born in Jamaica. We devised three such totems or masks (for the three band members) that Keith Breeden (Scritti Politti, the Mission, ABC) proceeded to make from old boilers and motorbike parts – contemporary sculptures from scrap metal, suggestive of both modernity and ethnicity.'
Storm says: 'The title suggested something a touch reckless, perhaps, or at least a departure from normal behaviour. We joined this thought with the image of a bungie jump from a high bridge on television – wondering what on earth people would do for a thrill.'
Storm says: 'Much as I'm fond of books and photo galleries, I regret that we cannot show you here the pulsing red light that was a feature of the package for Pink Floyd's Pulse CD – a double live album of The Division Bell shows at Earls Court, London.'
Storm says: ' Richard Wright, noted keyboard player from popular rock'n'roll ensemble Pink Floyd, made a solo album in 1996. Apart from his hallmark lyricism and keyboard swashes, the album dealt thematically with an emotional breakdown, occasioned by some unstated trauma, followed by subsequent attempts at recovery'
Storm says: 'The most impressive thing about the band Phish was going to see them live and discovering that they did not have a set list. No set list? Horrors! The second impressive thing about Phish is the degree of improvisation in their concerts, and improvisation is what I was trying to represent in this design.'
Storm says: 'I was both suprised and heartened that the Cranberries chose the design at all ... the Cranberries had previously used pictures of themselves, often on a sofa. Our image was clearly a departure, not a sofa in sight. The second miracle arose after we decided that red earth was paramount to contrast with a blue sky, which had to be empty (ie cloudless, to echo the empty landscape and to emphasise that the All Seeing Eye can get you anywhere).'
Storm says: 'Pink Floyd's The Dark Side of the Moon was remixed from original tapes in 5.1 surround sound or super audio to provide an even more detailed and splendid audio experience. It was the same music but not the same mix. A different beast, in effect, and it seemed appropriate to indicate as much on the cover by reworking the original design, which was an airbrush illustration with line work for tint lay.'
Storm says: 'Ethnix are from Israel and both the albums on which we worked seemed concerned with war, the first more directly so. It appeared that Ethnix were as questioning and critical of their own country as of others.'
Storm says: 'Sad really, but the Cranberries self-combusted like many before them. From the Beatles down, implosion seems to be a recurring nightmare for bands. For this album, I imagined little granules of coffee floating through the air, up the stairs, floating into one's bedroom...'
Storm says: ' What is there to say about the Mars Volta? An extraordinary coupling: exotic, extravagant, improvising, unrestrained but as tight as a drum when they need to be. A heady mix of styles woven together at a frenetic pace but interspersed with unexpected longeurs.'
Storm says: 'The idea came from something about 'keeping tabs', keeping up with the news, finger on the pulse, having your ear to the ground. I had also wanted to use a very large wave or tsunami ever since Dark Side of the Moon.'