When LL Cool J emphatically raps “Don’t call it a comeback!” on his song “Mama Said Knock You Out”, he was not only issuing a warning to the haters who had listed his career as DOA, but throwing down the gauntlet for any band or solo artist whose career lasts longer than the allotted 15 minutes most are allowed.  Like life, musical careers have their ups and downs.  Sometimes an artist’s creativity peaks and they are appreciated, other times it does and they are ignored, and in some cases it abandons them all together.  That is the roller coaster nature of creative pursuits.  The trick is to weather it all and persevere, because all true art is a journey.

Let’s Not and Say We Did (LN&SWD) is one band that has not only mastered that trick, but also embraced the journey.  With a career that stretches over 30 years, LN&SWD have certainly had their share of ups and downs.  The band’s three members met in high school and have been making music together ever since.  They were critics darlings in the 80’s, ignored in the 90’s, and sanctified with cult status in the aughts, but its the recent re-release of some of their earliest recordings that has spurred a resurgence in the band’s popularity and catapulted them to heights they’ve never experienced before.  So what do they think of the seemingly never ending thrill ride that is their career?  We sat down with them at the Hawkins Springs, KY headquarters of their record label, Heiroglyph Records, to find out.

Figment News:  You’ve been together as a group for over 30 years.  To what do you owe your longevity?

Lambert Rice “Thrice” Knightley:  I think it’s because we haven’t chased musical fads or really even fit neatly into one musical style. To be honest, when we first started out, we weren’t even all that aware of what was going on in music. We just played whatever we wanted whenever we wanted, and when you enjoy what you do, that’s when you’re going to be your best — and most successful, if you’re lucky.

Stella Delcielo:  Plus we’ve been friends — best friends, really — for a lo-o-o-o-ong time!  We don’t all live in the same town anymore, and the time we do get to spend together is precious, so we spend it having fun.  And for us, making music together is as much fun as shooting a game of horse or hanging out and drinking a beer with your buddies would be for some.

FN:  Is it hard to maintain your passion for the old material after all these years?

Dustin “Dusty” Rainwater: No, not at all! A lot of the old stuff was inspired by something one of us had done or some in-joke that we all shared. When we were deciding on what old material to include in our set for our tour this summer, we’d start to play a song and then start reminiscing: “Do you remember the time Thrice freaked out on the Ferris wheel?” or “Do you remember that time in the high school band room when Stella yelled — at the top of her lungs — ‘What’s mastur–’”

Stella: Yes, we ALL remember that. The whole school remembers… Of course, you NEVER did anything embarrassing, Dusty…

Dusty:  NEXT QUESTION, PLEASE!

FN:  Speaking of your older material, you’ve been reissuing your back catalog through your new label Heiroglyph Records.  What was the genesis of this reissue project?

Stella: Some of our old recordings had been unavailable for years, so we came up with the idea of starting our own record label to release our new material and make our old stuff available for all our fans. We’ve slowly been buying back the rights to our old recordings and releasing them on Heiroglyph.

Thrice: Do either of you remember why we misspelled “Hieroglyph?”  I’m sure we had a good reason at the time…

Dusty: I thought it was some kind of tax dodge.

Stella: “No, that was when we claimed buying your sister a rabbit was a work expense.”

FN:  Your early records like “My Science Project Disaster” and “Mashed Potatoes & Groovy” charted back in the 80’s, but are selling even better now.  Why the renewed interest?

Thrice: I think there is certainly a nostalgia component, but I honestly think that stuff doesn’t sound like it was recorded in the 80’s. Who else back then put out a record where all the percussion was played on pots and pans and hair combs?

Those records could have been released last week. That’s an advantage of not paying attention to musical trends: the music seems timeless.  I hope that doesn’t sound arrogant — I just mean that, for better or worse, we did things our own way.

FN:  In the 80’s you college radio darlings and a working band that toured on a national level.  What happened in the 90’s?  Were those lost years?

Dusty:  Our musical output slowed way down, that’s for sure. People asked us if we broke up, but the truth is, we just got involved in other things and didn’t find time to record as much. Stella’s acting career took off, and Thrice went to graduate school…

Thrice: And Dusty fell down that mine shaft and wasn’t pulled out for two years… I’m still not clear on why it took so long to get you out… What were you doing there??

Dusty: It was lonely down there… Let’s talk about something else, shall we?

FN:  But your band is far from a nostalgia act, you’re working on new material as well right?

Stella: Definitely!  We’ve got lots of stuff in the pipeline.  Keep watching Figment for details!

FN:  Any plans to tour?

Dusty:  We have plans for a tour this summer.  I think you’ll hear more about it in the coming weeks.

FN:  You just re-released your 1987 album “Out of the Picture”, which is a unique album to say the least.  Can you tell us a little about the album and what inspired it?

Thrice:  Just because we were known for putting out records that were fun and even kind of odd, some writer for Rolling Stone once called us “the only light-weight band that matters.”  While it was good to be called a band that mattered, we bristled at being called “light-weight.”  So we really challenged ourselves with our next album, Out of the Picture. Stella had been reading a lot of William S. Burroughs, and Dusty had been dying to put his own spin on the Doors’ “Break On Through.”  Plus, I had always liked the idea of someone stepping into a mirror or out of a painting.  Somehow it all just clicked, and that record has been one of our most popular ones ever since.

FN:  Stella, I understand you that you are the primary designer of all of the band’s album covers, is that true?

Stella: Well, I think it’s mostly Thrice and me. One thing we do is, if someone has a really good idea for a cover, that person mocks up that cover, and the other two will make suggestions that might improve the artwork or composition. Only if we all agree on a cover idea is it used, but, I can’t think of a single instance where anyone has said no to a cover.  We are so alike in our humor and our tastes, it seems that whatever ideas we do come up with, the whole band is like “Yeah!”. I think so far in the re-issues, the only cover that can be attributed to me is “Merry Stinkin’ Christmas.” There are some upcoming ones, such as In Glass Houses, and the double release of new material, and some more that were my ideas, but so far most of the work you have seen is that of Thrice.

Thrice:  However, Stella did design our logo which is on nearly every album.

FN:  Your sound is eclectic to say the least, with forays into electronic, country and even punk.  How would you describe your sound?

Dusty:  I don’t know. I think we just try to do stuff that people haven’t heard or seen before, whether it’s unusual subject matter, or unconventional composition techniques or fun cover art.

Stella: Goomy. That describes our music best.  It’s our own made up word, and it is difficult to tell you what it means. It has its roots in the Beverly Hillbillies. Granny said “some goomer” was coming to see them or some such. And we took that word and ran with it, and it evolved to mean silly, fun, creative, having a good time and a bunch of other things all rolled into one. When we all go out together, we say we are going gooming. Charlie Sheen’s recent outbursts — that’s goomy. The time we went through the drive thru at DQ and the girl inside didn’t believe I was a real customer and thought I was a coworker and called me a bunch of foul names, then fell to her knees behind the window when we pulled up to get my milkshake and she realized we were real customers — that’s goomy. So, our music is goomy.

FN:  Do you think that the resurgence of the indie rock scene has made it easier for a band like yours to find a new audience?

Stella: Perhaps so, but people are nostalgic creatures and they want to see what they have missed. So basically, I guess the answer is yes, because that is what resurgence is all about. Finding out what you have missed and liking it.

Thrice: Plus the Internet means you can get your music to a much wider audience without depending on some radio programmer.  But honestly, whatever the reason for us finding a new audience, we are grateful.  It’s very satisfying to know that people still find our music worth listening to, whether it’s the old stuff or the new stuff.

FN:  Switching gears a bit, I’ve got to ask you about “Merry Stinkin’ Christmas” your 1985 Christmas concept album of sorts.  What’s the story behind that album and in particular the song “You Should Just Be Thankful That Dog Crap Is Too Hard To Wrap”?

Thrice: I can tell you about the song, but Stella was the real mover and shaker behind that album. Anyway, when I was eight years old, my older brother gave me a box of toenail clippings for Christmas and told me “You should just be thankful…blah blah blah…”  It turned out that the real gift was the idea for that song!  Stella and Dusty had their own memorable Christmas stories with their families, too!

FN:  What do your parents think about that record?  I’m sure it’s a big yuletide favorite in the Knightly, Delcielo and Rainwater homes huh?

Stella:  You bet! As the three of us are similar in our sense of humor, our families are also similar in their senses of humor. Basically we are a bunch of weirdos who were raised by super-weirdos. Merry Stinkin’ Christmas is the epitome of our particular sense of humor, and though from the outside it looks like the remembrances of kids who came up in perhaps some unfeeling households, it isn’t. The statements in those song titles…you have to be VERY sure of your family’s love, very sure that the person you are making the statement to KNOWS, without question, that you love them, or…well the joke is lost. Things along these lines were said in each of our households, but we always knew that despite the seeming harshness of your mom’s statement of, “Relax Santa Won’t Get Here Before I Finish This Cigarette”, underneath she was really saying, “Don’t worry Honey, I won’t let Santa pass you by. If he did I would hunt him down and bring him back here!”

FN:  So you’re all from Kentucky right?  Any plans to jam with My Morning Jacket?

Dusty: You know, when they were just starting out in the late 90’s they opened for us at a concert in Louisville.  They’re great guys, but mostly we jam with bands from western Kentucky where we’re from — Government Cheese and Straydaway especially have been good friends of ours.

FN:  With 3 decades under your belt, what do you have planned for your 4th?

Thrice:  I think we’ll just keep challenging ourselves and our fans and having fun in the process.

Stella: And maybe even win a Figgie!

Brad Singer Comes Clean

April 19th, 2011

Figment News received the following statement from Brad Singer, lead singer of the alternative rock band Coxswain Insignia, early today.  Singer asked that we post his statement and we agreed to do so.  The following is his statement.

Before I get too deep into this I want to take this opportunity to openly thank each and every fan of Coxswain Insignia for their support and devotion during our career. For those of you who truly listen to the music and don’t just hear it, this statement may come as no shock to you. But, for anyone who has wondered where the band has seemingly disappeared to, I am writing this statement to offer an explanation.

I, Brad Singer, am an addict.

It all began shortly after the success of our first album, Out In The Ocean. Success we are still eternally grateful for. Brief encounters with drugs and alcohol were nothing new to me, but suddenly it was everywhere. It’s not hard to walk into any liquor store and buy a bottle of booze, or call a friend of a friend who occasionally deals pot, but it’s different when you’re in the spotlight. There’s just something more seductive about it. I sampled; I dabbled. Nothing major. But then the nightmares started.

Our second release, Normal Nightmare, was a pseudo-concept album based on some very real issues. I don’t know if it was the sudden success and the resulting stress, or something that had long lay dormant inside of me that awoke, but I began to suffer vivid and debilitating nightmares. Writing songs about them helped, but only in the way that pressure on a wound helps to momentarily stop the bleeding. As soon as you let go, it all comes rushing back out. I turned to something that would numb the pain. Drugs and alcohol didn’t make the nightmares stop; it only helped to create new ones.

I retreated further into my addictions. Occasionally I would really let loose and spend my days in a cocaine and pill induced haze, but my true vice was always alcohol. Particularly whiskey. I soon found myself living out the cliché that is every drug addict/alcoholic’s life. I spent days in the darkness of my house drinking until I could no longer function, pass out, then wake up and do it all over again. I ignored my friends and my family; I stopped showing up to band practice. I would make up thinly veiled excuses to hide my true actions. Time became a whiskey soaked blur.

I was crying out for help while simultaneously shutting myself off from the world. I wrote Home At The Edge as a way to try and show what I had become: a broken man trying to find his way back to the light. Still, I kept crawling back into the darkness. I wrote songs like Staring At The Sun, and At Arm’s Length to try and cope with my problems, but I could never overcome them. I continued to ignore my friends and my family. I would completely miss scheduled days in the studio. Shows were planned and then cancelled when I wouldn’t show up for meetings, pissing off the sponsors who wouldn’t waste their time on me. I singlehandedly ran my band into the ground. I drank until the pain gave way to darkness, then I woke up and did it all over again.

One day I woke up from a particularly heinous three-day bender to find myself in the dark. I managed to drag myself up off of the floor and open the curtains to find that it was dark outside as well. I flipped a switch. Nothing. My power had been shut off. I had been too busy drinking to pay my bills. I stumbled to the bathroom to try and take a shower to sober myself up, but the shower wouldn’t kick on. The water had been shut off, too. I fell into a heap in the middle of my bathroom, and that’s when it all came crashing down. I was alone, dirty, laying on the cold tile floor of my bathroom in the dark. I cried, I bawled. After what felt like hours I managed to pick myself up off of the bathroom floor and stumble blindly through my mess of a house. I felt around until I found a lighter, lit a handful of candles and let the dim glow illuminate my living room. There in the center of the room stood my piano, the place where I had sat hundreds of times and written the beginnings of hundreds of songs. I sat down at the piano and started to play, nothing specific or with purpose, but just to play.

I spent the next few days at that piano. I started writing songs again. I ignored my friends and my family, but not for selfish reasons like before. I knew I couldn’t face them again until I was ready. After a week of sobering and songwriting I finally called the band to apologize for everything. I told them that I was ready to get back to work if they were willing to work with me again. They were. We’ve been back in the studio piecing together the songs that I began months ago at my piano. I really feel that this is some of the best music we’ve created together as a band since Out In The Ocean. The album title and release date will be announced soon.

Thank you for taking the time to read this official statement. I apologize from the bottom of my heart to all of my family, friends, and fans for everything that I have put them through in the past because of my addiction to alcohol. I am now clean and sober, and with the constant support of my family, friends, and fans I will remain that way. Thank you all, I love you all.

-Brad Singer.

Record Store Day 2011

April 15th, 2011

Record Store Day is tomorrow, April 16, 2011, and all of us at Figment would like to urge you to take the time to search out a local record store, pay them a visit, and buy an album.  Why?  So they don’t suffer the same fate as these record stores!

With independently own record stores closing left and right, Record Store Day is a chance for these stores to team up with artists to celebrate music.  Many of these stores will be selling special Record Store Day releases from your favorite artists as well as holding special events, like in-store performances, record signings, etc.  So check out your local store’s website or visit RecordStoreDay.com to find your local store and check out what’s happening.

If you don’t have a local store or can’t make it there tomorrow, please take the time to visit an independent record store website, like the one run by our good friends at Stinkweeds!  They’ll be happy to sell you a record without you having to leave the comfort of your own home.

Regardless of how you do it, let’s get out tomorrow and support indy record stores and artists.  Not only will it keep music alive in our communities, but we’ll all go home with some fresh new sounds to enjoy!

Map of Metal

April 11th, 2011

A little over a month ago, thedude sent me the link to a site called Map of Metal knowing that I am a huge fan of metal music.  Needless to say I was not only intrigued, but excited to see what it was all about.  What I found was a very cool graphic way to look at metal music – it’s influences, genres and various sounds.  So I sought out the maps creators, graphic designer Patrick Galbraith and metal historian Nick Grant, and they were kind enough to give me a walk through how they developed this incredible interactive map of metal’s history.

Figment News:  Let’s kick this off with the million dollar question….why?

Patrick: Basically I thought it was a good idea and I just felt the need to do it. Thinking about it now I find it interesting how changing the way you present information visually can impact the experience. In other words if I just made a table of every genre, the experience would be very different. It is my hope that some younger people who are only into modern bands can come to appreciate influential early bands and vice versa. Hopefully also people who don’t know metal at all can come to appreciate it a bit more and might be interested to dig deeper into it.

FN:  Are you guy’s big metal fans?  If so, what are some of the metal bands that inspired this project?

Nick: Of course we are! I personally listen to underground metal in the death/black/doom genres and of course the classics. Some bands that inspired the map are probably memorable figures such as Maiden, Candlemass, Celtic Frost/Hellhammer, Bathory, Darkthrone and Black Sabbath, but then again, most bands we listen to are inspirational in some way or other.

Patrick: Yes! Visually it would have to be bands like Iron Maiden, Motorhead, and many others that brought the imagery and fantasy elements into it through artists such as Frank Frazetta, Derek Riggs, Joe Petagno… just flip through a bunch of albums and you’ll know what I mean.

FN:  Why did you decide on a “map” as your diagrammatic representation of metal music?

Patrick: The very first version was just a basic flow chart but the original plan was always to make it into a map of some kind. I like it when metal is combined with a mythic style. The first design I did the style was more like an old worn pirate’s treasure map. However I thought it lacked visual interest especially up close it needed more texture so I had the idea of making it out of clothing and found objects. After that the visual style came together pretty quickly.

FN:  Was it hard deciding on the various genres that you would include?  How did you decide on the various related genres that you felt influenced metal’s development?

Patrick: There isn’t any formula. We just made all the connections we could think of and slowly sorted it all with research. The trick was removing a lot of connections and finding ways to simplify rather than complicate the map. It would be easy to draw up a ridiculously complex (more accurate maybe) chart, or simplify it down into more generalised areas but that wasn’t what we were aiming for. The focus was more on getting something that showed the progression of the music.

Nick: The map doesn’t discriminate different genres, it more or less casts a light over all genres and sub genres of metal and allows people to see which genres helped spawn the more modern sounds that have developed over the years.

FN:  What is your favourite metal “land”?

Nick: My personal favourite metal land is probably the darker areas of black/death and doom!

Patrick: I’m guessing by land you mean regions of the map. Developing the site forced me to be even more open minded to a number of genres so right now it’s too hard to choose. Originally there was going to be more separation for example Doom metal and its offshoots from Power metal etc. but the amount of crossover made it too difficult and it didn’t sit right. Design wise… the inverted hello kitty… also I like the Punk Rock Island with the bloodied union jack, which is a reference to Vivienne Westwood.

FN:  What kind of feedback have you gotten from fellow metal heads on the Map of Metal?  Anyone take issue with it and/or request a cartographic change?

Patrick: A lot of people asked for a zoom function, which I will probably add in at some point. I left it out because I wanted people slowly discover the connections and to see all the design details but I guess that is a bit self indulgent. Occasionally someone emails with something along the lines of “wheres metallica you fail”, and I have to point them to thrash. Generally speaking though the feedback has been really positive and the suggestions from the community have been great. I’m working on plans to leverage the community more in the future with something akin to uservoice, but which directly links to the site, but that’s all I can say about it at the moment.

FN:  Do you think the Map of Metal represents all of the genres that make up Metal or do you think the music will continue to grow and inspire more offshoots?

Patrick: In short, no it doesn’t list every genre, this is for a couple of important reasons. Firstly when you look at genres and the categorization of music different outcomes will require a different approach. In other words if I was categorising music for a music database or library I would do it very differently. However with the Map of Metal I wanted it to be more along the lines of a story about how the genres and styles have progressed and therefore I focused on using common everyday labels for the genres. Also the map no doubt has an America/UK bias to it in regards to how the genres have progressed and their labelling; people from other parts of the world would likely see things differently.

Will it continue to grow? Absolutely metal will continue to live on for a long time. However I can’t see it being possible for it to become less diverse that is just the nature of any form. Bands will continue to fuse metal with other genres spawning new sub-genres, micro-genres and so on… it is likely the internet will play a role in this too.

Nick: Metal is not bound by genres in any way, but I suppose it’s easier to define them as this or that. I think in the future many more strange kinds of genre mixes will appear, some better and some worse. The map is more of a guideline as to the differences in sound for people who are uneducated in the matter or curious to discover more.

FN:  Any plans to add a new country, principality or People’s Republic of Metal?

Patrick: New genres, yes. However at the moment I’m focusing on building other features. But after that who knows.

FN:  Do you think Axl Rose needs your map to find his way back to metal?

Patrick: You can always try sending him the link to find out.

FN:  If you could create your own metal genre what would it be called and what would be its roots?

Nick: Hiking metal; a mix between early Viking metal (Bathory) and hiking in the forests at night!

FN:  If you could form your ultimate fake metal band what would you name it?

Patrick: Placental Expulsion; hints to the name of a local dish here in Australia; it’s a combination of kebab meat on a bed of fries and smothered with ketchup and tzatziki, yum.

We’ve been thrilled with the level of creativity and design prowess we’ve seen on Figment over the past year.  In short, all of our players have upped their game, and we’ve enjoyed seeing the results!  So as we kick off our 3rd Annual Figment Album Cover Design contest we’re excited to see what our players will come up with for this year’s contest!

For those of you who are visiting Figment for the first time or just recently became a player, our Album Cover Design Contest is arguably the biggest contest we hold all year here on Figment.  It’s a competition to see who can design the best album cover for their fake band.  Whether you have mad design chops or just a great imagination and a clear concept, you’ve got a chance to win, and winning has it’s perks.

We’re proud to have Adobe, the leader in digital media creation and editing products, team with us for the 3rd straight year to supply our winner with Photoshop CS5 Extended.   In addition, we’ll outfit the winner with a brand spanking new Figment t-shirt as well as 1,000 pieces of lucre.

We’re also excited to announce our judge for this year’s contest.  In the past we’ve asked album cover designers to judge the contest, but this year we decided to take a slightly different tack and enlist a musician.  After all, who do album cover designers ultimately have to please?  The band, right?  So we went out and got one of our favorite musicians, Tad Kubler, to be the guest judge.  Tad is the lead guitarist for indie rock band The Hold Steady, and has had a hand in the design and layout of several of the band’s releases.  In addition, he is a talented photographer, who has snapped pictures for his band and many others.  Tad will be lending his expertise as a musician, photographer, and designer, to pick a winner and 2 runners up.

So how does the contest work?  Quite simply, we’re looking for the best original album cover design.  Sure, technical design skill is a plus, but we’re ultimately looking for an album cover that grabs our attention.  Last year the winner was javdoc for the album cover he designed for his band Zeroth’s single “Crytonomicon”.   William Schaff, last year’s judge, explained his choice this way:

Imagine that you and I are were hitting the yard sales on a bright Saturday morning. Our goal that day is to purchase an album that we know nothing about. The band’s genre isn’t what is affecting our choice, because we don’t know the band. What they sound like doesn’t matter because we’re looking to meet something new. So we’re going strictly on what strikes our visual fancy. Now you and I may have disagreement on what those criteria are, but lucky me! I get to be the fellow who says what gets chosen. If I was at a yard sale and had only these ten records to chose from, Zeroth would catch me the most, because it is unclear what exactly is going on. I see numbers, I see letters that don’t make sense to me. Yes, the word “Zeroth” is at the bottom, but it is pales in comparison to everything else going on. It has me curious! I am assuming it may be some sort of detailed, electronic music (which I am able to enjoy at times) but I am not sure. That uncertainty has me wanting to check it out. Neat!

So how will the judging work?  The initial round of judging will be done by the Figment staff who will pick the Top 10 covers that they think merit being considered by Tad Kubler.  Tad will then pick a winner and 2 runners up from that Top 10.

As we mentioned above, the winner will receive a copy of the premier 3D graphic design software on the market, Photoshop CS5-Extended courtesy of Adobe, a prize worth $1,000 alone!  But it doesn’t end there, because we’ll match it with 1,000 pieces of Lucre to spend on Figment, and a brand spanking new Figment t-shirt.

The runners up will each receive 750 and 500 pieces of lucre respectively, and we may have a few other prizes to throw into the mix soon enough, so we’ll keep you posted!

So now that you know what’s at stake, what do you need to do to enter?  Here are the basic rules of the contest:

1. You must be a registered Figment user to participate.  If you don’t currently have a Figment account please click here to create one.  This contest is open to Figment users worldwide.

2.  Create a fake band on Figment and release an album (EP or singles are also eligible) with cover art.  The band and album must be fake, and not artwork for a real band.  You may also release an album by an existing fake band that you created on Figment.  To be considered, any album entry must contain song titles. Even though they won’t be the focus of our judging, any album that is released without any song titles will be disqualified. Once you have released an album you want to submit as an entry please post the band, album name, and the URL to the album’s page on Figment as a comment to this post, so that we and other users can check it out.  If you don’t post that information as a comment to this post your entry will not be considered eligible.

3.  Any artwork used in the creation of your album cover should either be original or at least one you have the permission of the copyright owner to use.  If you do use someone else’s work you need to make it your own by adding text, altering it through manipulation or doing something else that makes it your own.  Any album designs that are judged as being a copy of an existing work will be disqualified.  We will also disqualify any album cover that is offensive in nature – sexist, racist or hate-based.

4.  You may enter as many album covers as you like.  If you would like to enter an album cover you have already released on Figment, please note that you may only enter album covers created since January 1, 2011.  Any album covers entered that were released before Jan. 1, 2011 will not eligible.

4.  The contest will run from Monday, April 4, 2011 until Friday, June 3, 2011.  All submissions must be posted by no later than 11:59 pm ET on Friday, June 3, 2011.

5.  By no later than, Friday, June 10, 2011 Figment will select the Top 10 album covers and send them to Tad Kubler for his review.  Tad will judge the Top 10 covers and select a winner and two runners up.  The winner and runners up will be announced on Friday, June 17, 2011.

As we stated earlier, this is one of the biggest contests we run on Figment and we’re thrilled to have Tad Kubler on-board to be the ultimate judge.  So really pull out all the stops and try to create an album cover design that you think captures your fake band’s aesthetic.  We look forward to your submissions.

If you’d like to read the full contest rules you can access them at:  http://figment.cc/content/pdf/2011_Album_Cover_Design_Contest_Rules.pdf