An interview with Mikey Burey, artwork designer for Levitation Orchestra

We interviewed Mikey Burey (River Cousin), the creative force behind the breathtaking Illusions & Realities artwork, to find out more about his process and inspirations. He kindly provided the process images for Child: Pt. IV, the third digital single from the album. Illusions & Realities by London-based jazz collective Levitation Orchestra is due out October 29th on all formats.

Could you give a very brief introduction to yourself and your work?

My name is Mikey, I’m a freelance illustrator/visual artist from South Croydon, I’ve been working primarily with bands and musicians for most of my career.

How did you come to collaborate with Levitation Orchestra on this album?

I had mutual friends with some of the members before Levitation Orchestra was created, so I was around to see their journey quite early on. I remember seeing Axel introduce the group at their first gig and just being so moved by the whole thing, their incredible performance but also the nature of the project. By the time they started looking for an artist for this release my own work had developed a lot too, so it felt like a natural time to connect.
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How much was the sleeve design a collaborative/individual process?

We started by meeting as a group and speaking about the possible routes the initial concept could take us down, so from the start it felt important to keep the collaborative aspect a central part of the process. Another thing Axel stressed was that this was as much my vision as it was theirs, so as the project developed I found a balance between my own intuition and the groups input.
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The image of heaven and hell felt like a good example of contrasting realities, so we decided to use the physical record as a way to continually go back and forth between the two, using Miles Davis’s ‘Bitches Brew’ artwork as a reference.

Is there a story behind the artwork?

I think the most beautiful and important factor in the concept of ‘illusions and realities’ is the presence of a subjective human experience, the thing that distinguishes between the two. I wanted this to be the focus, to show these two versions of the same reality being perceived at once, with the mirrored profiles in the centre being the element dividing them. The image of heaven and hell felt like a good example of contrasting realities, so we decided to use the physical record as a way to continually go back and forth between the two, using Miles Davis’s ‘Bitches Brew’ artwork as a reference. When we open up the sleeve we experience the back and front cover as one landscape, instead of two separate and opposite pieces.
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What tools/equipment did you use?

I used Adobe Photoshop and a graphics tablet for the artwork, and Illustrator for the typography.

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I liked the idea of using deeper colours to convey a feeling of warmth and introspection, so I kept a few pockets of shadowy areas and starry skies here and there.

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How did you pick the colouring?

We discussed early on using deep, darker colours for the cover, but as it progressed the landscapes and natural elements determined a lot of the colours for me. I liked the idea of using deeper colours to convey a feeling of warmth and introspection, so I kept a few pockets of shadowy areas and starry skies here and there.
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Who are your artistic influences?

I’ve always been really inspired by surrealist painters like David Inshaw and Mati Klarwein, but right now I think my main influences are airbrush artists who worked in bolder, more graphic styles like David Pelham and Peter Haars.

What are your favourite album covers?

The cover for ‘An Empty bliss Beyond This World’ by The Caretaker is one of my all time favourites. ‘Rooty’ by Basement Jaxx, ‘Turiya Sings’ by Alice Coltrane, ‘R Plus Seven’ by Oneohtrix Point Never, and of course Funkadelic’s Maggot Brain!
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PREORDER Illusions & Realities by Levitation Orchestra HERE‍