UnCovered: Sevan Mater Founder Luke Murray Discusses 3D Album Covers

One of the true casualties of online music streaming is the album artwork. Sure, it still appears on the screen when you hear the song, but unless you’re willing to shell out upwards of 50 dollars on the vinyl, that’s about your only experience with the art. It has taken the record label Sevan Mater to innovate the space of album artwork with the creation of fully lenticular, single-piece 3D album covers. Truly groundbreaking in a way never really conceptualized, these album covers are brought to life like never before. Unlike traditional covers that use an adhesive 3D layer, Sevan Mater’s covers are integrated into a single piece. Manufactured in Italy, the company has ensured to make this an affordable product for all musicians. It’s not just for acts with huge fan bases and lots of money.

Not a passing fad, these 3D album covers are starting to catch on with record labels and bands. The first record to feature this technology is a reissue from classic American metal band Iced Earth (you can pre-order now). The special edition features a striking font and back 3D lenticular effect. The special reissue will be limited to 500 copies. They will be split between Marbled Red and Transparent Red vinyl, each including an insert and sealed with a sticker.

The man behind this ingenious innovation is Luke Murray, Founder of SevanMater. Murray joins us today to discuss his inspiration, the early response to these album covers, the changing nature of album artwork, and more.

What inspired the creation of 3D album covers?

Luke Murray: “They have always existed, even if they are not used too much nowadays, because the production process is costly. Originally, a sticker was applied to the cover, with nothing else. Our technical office managed to create a full cover, with a metallic interior, very resistant and robust, which, as vinyl collectors first and foremost, we define as ‘our masterpiece.’ The idea came to me by chance. We are always looking for special products to put on the market, and this seemed to be a good idea.”

How did Sevan Mater collaborate with bands and other labels about the artwork?

“Well, in this case we do a bit like AUDI which lends its technological materials to other companies, in the sense that both we and the company that makes the covers for us are ready to help our bands and the labels interested in making the product, the 3D Music Covers brand is a young and innovative idea for the record market, it is a new toy for everyone.”

Iced Earth ‘Dystopia’ 3D Poster

What are some of your favourite covers of all time?

“Well, I don’t know, probably The Smiths’ ones, they are warm and cold at the same time and describe the music perfectly.”

If you could picture your album in the hands of someone you would be amazed to see holding it, who do you picture?

“Well, if the new Pope Leo showed a three-dimensional cover of Iced Earth in the Vatican, given that they are Americans too, well, yes, this would surprise me very much!”

Where would you be most excited to see your album artwork postered or displayed?

“I don’t know, I think the temple of every collector is the most coveted place. I love this job, we sell dreams to people in some way, we feed their imagination, already with music, which is an ‘invisible’ concept, we embellish it with a beautiful cover and an excellent print. So it’s really important for us to create an object and make it fascinating and irresistible, in the end, all the shops will display our 3D covers, and all the people who pass by will say ‘Wow!’ I think this will be the greatest satisfaction for us.”

Which album artwork do you think is massively overrated?

“Oh God, bad overrated covers come to mind, there are many records that have sold millions of copies with terrible covers, but here, if I have to admit it, I have always hated In The Court Of The Crimson King, which is a cover loved by the public. The opposite of all this? Iron Maiden!”

How has the response to 3D album covers been so far?

“Absolutely according to our expectations. When I saw the first prototype in my hands, I fell in love with it. We sent it to several professionals, and everyone complimented us: The Circle Music (who are very attentive to the quality of the covers), Century Media, Season Of Mist and many many more, after all it is difficult to represent as a product whether online with videos or otherwise, even photos never do enough, in person it has that 3D postcard effect that you find in the stalls of Venice, but bigger!”

How do you think the record business and art industry are navigating the handling of album artwork?

“Well, yes, for about 70 years, the offer on the market has always been the same; normally, in the underground sector, there is more variance. We always do research and try to produce anything that comes to mind, we have craftsmen specialized in iron and wood who make our boxes. We continuously look for new materials. Currently, we are waiting for something phosphorescent that goes around us. It is very important to always amaze the public, which requires a lot of attention and dedication, then if something is beautiful, it is recognized by everyone, and this is always the fundamental thing.”

Iced Earth ‘Dystopia’ 3D vinyl

What do you think more people should appreciate about album artwork?

“Well, obviously the cover must be able to visually and immediately communicate the meaning of the music, in this perhaps you are ‘biased,’ ‘we are inspired by a style to make it clear that…’ But this is essential to stand out in a record shop, then obviously there are the exceptions, Pink Floyd’s cow is a clear example of this.”

Have you ever purchased an album solely because of its album artwork? If so, did the music live up to the artwork?

“Of course, yes, especially in stores, a bit randomly, but honestly, a while ago. Today, you can listen to everything before buying, simply with a phone. Years ago, it was different, and you could even be wrong. Sometimes I took a real beating in this sense, covers don’t always represent the album, often the cover is much nicer than the album.”

With the increasing popularity of digital music, most fans view artwork as just pixels on a screen. Why did you feel 3D artwork was important?

“You hit the nail on the head! Everything is digital now, but the object itself is still very collected by fans, and this is normal; this is why the record market persists. You can’t download a 3D cover, you can’t even duplicate it, film it or take a photo of it, you will never get the same effect, not even similar. It takes your eyes and the object in front of you. This is very interesting because it makes the sensory experience unique, and it is a work of art in itself, a marvel of technology.”