You can also get a bit of a grasp on Storm’s thought processes by seeing the illustrations he uses to explain the evolution of the cover for The Division Bell.
But Storm’s art does not appeal solely to old farts, those who know and appreciate vinyl. Even in miniature, almost embarrassingly microscopic form such as on a CD liner note, it can sometimes be recognized as art. Storm’s also done graphic design for Mars Volta, Deepest Blue, Umphrey’s McGee, and Muse, as well as other graphic designers such as Believe Media, for a Japanese department store’s exhibition, and for book covers. Anybody who appreciates artistry can’t help but like Storm’s work. Even when those who commission the work don’t like what he’s done, they’ll sometimes go ahead and use his interpretation, for the simple reason that they know the impact and reputation of his work.
He’s also smart enough to turn the tables, using somebody’s else’s ideas, even though he may loathe the idea. (See Pink Floyd’s Animals album cover, with the old Battersea Power Station, which, after Dark Side of the Moon is probably Floyd’s most recognizable cover.)
He uses art, sculpture, photography, real life, nature, mannequins, props, and visual effects, all to transcendingly philosophical, sometimes sublime beauty. He uses industrial ugliness, pastoral peacefulness, silliness. He even used the ass end of a cow as a prop, all with truly astounding effect.
You can’t go wrong with Storm, even it’s a cow’s ass. (Watch for the pig’s ear, coming soon.)
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