The imagery used for The Kingsbury Manx's album 'Bronze Age,' from the cover to the back to the inside liner notes, is paintings from M. Scott Myers (a former band member). Most of the paintings are of landscapes resembling the tundra, including some with bodies of neighboring waters. The piece on the back cover showcases the nautical theme, while there is one painting inside the gatefold that is quite opposite of its arctic counterparts. This odd print reminds me of walking through the backwoods of Florida, following a wandering man-made path elevated above the marsh, protecting its guests from the local reptiles below.
While I am utterly attracted to the artwork from Myers that The Kingsbury Manx selected for this record, I haven't been able to tie the album's title, 'Bronze Age,' to Myers' paintings or any other elements of the packaging; only a lyric in the song, "Glass Eye." None the less, Myers' work makes for stunning album artwork and lives quite nicely in this 12inch x 12inch format protected by the under utilized shellac-like coating.
I'm often intrigued when a record company choses to use a gatefold jacket when there is only one vinyl record inside. Gatefolds are mostly used for albums that contain two vinyl records, placing one on each side of the folded jacket. When a gatefold is employed to carry just one vinyl record, I can't help but feel its for the admiration of the artwork; basically declaring, "This artwork is so amazing, every piece must be displayed on the outer jacket!" Odessa Records could have used a printed inner sleeve, rather than a plain white paper sleeve, to protect the vinyl record itself. This would have given them an alternative place to put the text and paintings that are on the inside of the gatefold (I'd be curious to know what the cost difference of this would be). However, the gatefold is much more impressive and engages you (the listener) as the needle dances across the record and you unveil the centerfold and mystique of the album.
Another well noted feature of The Kingsbury Manx's packaging for 'Bronze Age' is the spine of the jacket; its 1/4" thick, and again, that's for only one vinyl record. I love when attention is given to the spine of a vinyl jacket; most artists don't. As much as I'm not a fan of The Magnetic Fields, as I sit here in our Danish lounge chair a mere twenty feet away from our own record collection, my wife's Magnetic Fields albums, in their standard (thin) jackets, take the cake with having well designed, noticeable spines that stand out from the crowd. I have yet to file this Kingsbury Manx record, but I am sure once I do, it is going to boast loud and proud due to the grand size alone.
Without a doubt, I was looking forward to taking in this album. Obviously, Odessa Records had me at the artwork and packing, but I had also heard quite a bit about The Kingsbury Manx over the past decade, and yet to acquire any of their recordings. This collection of songs provides a lil' something for all types of indie pop fanatics. 'Folk Pop' seems to be the preferred term used to describe The Kingsbury Manx overall. Personally, I would suggest that if Belle & Sebastian grew up exploring the Appalachian Trail, their sound would be The Kingsbury Manx. I could easily see these kids from North Carolina on a bill with The Ladybug Transistor, The American Analog Set, or even Bonnie Prince Billy.
Some of my favorite tracks from this album are "Future Hunter" (I'm a sucker for synths; bought my very first one on Raleigh NC back in 1996), "Handspring" (you can't go wrong with trumpets; such an enjoyable, tastefully added touch), and "Custer's Last" (again with the synths, but this time with a captivating beat that gets you out of your seat singing along to the gods above during for their epic Pink Floyd-esque finale). Multiple listens may be required to fully understand where The Kingsbury Manx are going, but they are okay with that, and besides... M. Scott Myers and Odessa Records provide some gorgeous artwork to study during the ride.
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