I’m really happy with this one. Apart from the results – which are amazing and have been well received by the scene and the media – what I loved most about this project was being able to work with Olivier Baumann and Clemens Behr (and bringing the two of them together). Both of them are extremely talented, fast and know exactly what makes an image powerful. It was a winning team from the jump. Btw. Olivier was the photographer, designer and director on this project!

I started the process by thoroughly interviewing Ramon Olivieras, the man behind Ikarus (composer, bandleader and drummer). I wanted to make sure that I really understood how he sees Ikarus as a project, what his key aesthetic influences are (visual and music) and where it is that he wants to take the project with this new LP. After listening to the new material, I knew that I wanted to find a way to express the percussive drive of the record, as well as its jigsaw, puzzle-like arrangements. But it was Olivier who pointed out the  Latin feeling of the drums in contrast to the colder melodies – and that became the blueprint for the visuals. What I was looking for was the tension between something tropical and Nordic / colorful and stark. I decided to keep the layout of the previous CD, as I like it a lot (the use of the square within a square, the typography). I also thought that it would be great to have a bridge between the records.

I defined the color scheme with a few photos taken in warmer places (models and objects). We ended up with a warm color palette that was going to be displayed against solid black – to give it more punch and to emphasize this tension between the two sides of the record. I asked Olivier to start by making very dynamic photos: extreme poses which emphasize body angles, as well as very dynamic compositions (taken at extreme angles and abruptly cut frames). I wanted these photos to embody the rhythm of the record. Also, when viewed in sequence – whci is the way they are displayed inside the CD booklet – to play off of each other dynamically. The band was asked to wear all black for the session. Each member was photographed separately and against one of the colors from the color palette. I sent a selection of the photos to Clemens and asked him to tear them up and to make collages from them, on square pieces of cardboard. We ended up with something like 10 variations of the cover and a photo of all of the covers laid out on the ground as if they were one collage panel. We used this panel inside the booklet.

In a conversation I had with Ramon (one many) the idea of a rhythmic DNA came up. A few days later we both of us had the idea of calling the record Kronosome / Chronosome. That Was the serendipity / telepathy moment on this project and proof that we were on the right track. We still had to sort out the spelling of the name and double check our knowledge of Greek mythology. It turned out that Kronos and Chronos are not the same guy! The final nail in the project was my idea to make the name of the LP into the acronym for all the song titles, since the back panel of the CD was going to be a square formed from densely written song titles. Ramon and his band worked hard to find alternative words for the titles they were working with already – such that would embody the same images, meanings and feelings they were going for originally.

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