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caspar was recently interviewed for monocle magazine. here’s an excerpt from the piece –

describe your work with bands.
i am responsible for visually creating their sound. i get images in my head from listening to their music and create everything from sleeves, posters and videos to documentaries. i only work with bands i like.

is art more influential in the music business now?
record labels have faded. bands work with us on artwork and we in turn can become a catalyst for them working with each other. it’s a creative nucleus. we all talk online but it’s as though we’re meeting up in a bar. it’s unusual that so many bands are grouped around us, linked by interest in our design ethic rather than necessarily sharing a musical theme. i’m treated like a band member – i’ve even gone on tour.

we’d like to thank belinda bamber for conducting such a wonderful interview, and of course?joshua simpson?for taking the great photographs.

you can read the rest of the interview here. the magazine itself is in stores now.

caspar was recently interviewed for black book magazine. here’s an excerpt from the piece –

how do you go about your creative process?
i?d say for me, it?s just read / watch / listen to anything you’ve been given a hundred times over until your brain is utterly saturated with and then just lie on your back and let your brain subconsciously do the work for you, and it will. it will tie, much the way dreams do, all manner of strange elements together based on personal experiences of old and the new elements you’ve introduced to it. in this way, i love the way david lynch?s writes his films. he?ll have one scene that?s just come to him out of nowhere that for some reason means a lot to him, and then another scene after it that?s this completely different — an unrelated thing that he also loves. he?s then compelled to put them in a film together and somehow find another scene that will perhaps connect them or explain why that was happening. it was the power of the two original scenes that lead to this new scene being made, rather than any sort of linear thinking process where you start with one scene and try and think of what might happen next. this is a hugely important way of approaching things because people don?t necessarily think ideas work like that.

you can read the rest of the interview?here.