Sleeve Notes 02

Tom Scholefield, better known as Konx-om-Pax, is a Scottish electronic musician and visual artist from Glasgow whose work sits at the intersection of sound, design, and moving image. 

Alongside his own music, Scholefield has built a distinctive visual practice, producing graphic design and animation for influential labels such as Warp Records, Hyperdub, and R&S Records, and collaborating with artists including Hudson Mohawke, Lone, Mogwai, Jamie Lidell, and Oneohtrix Point Never.

Skam is one of my favourite labels, and they always have amazing artwork. This sleeve was designed by Bhatoptics who worked on a lot of designs for Skam and Lex. The cover makes me think of recording my favourite Saturday morning cartoons onto VHS back in the 90s; the music feels very nostalgic. Special shout-out to Alex from Team Doyobi, whose sleeve designs are also amazing.

I wish I knew who designed this rather psychedelic cover for a 1988 acid house classic. It looks like it was drawn with felt pens and stuck together as a paper collage. I think it sums up the trippy DIY attitude of the acid house scene.

This record was given to me by my old flatmate and Healthy resident DJ – Ewan Chambers. I could never remember the name of the track and used to call it 'The Happy Tune' and Ewan eventually bought it for my birthday one year. I don't know much about the cover but love the handmade screen print look.

My favourite Drexciya album with artwork by Abdul Haqq. The cover visualizes the group’s Afrofuturist underwater mythology with surreal, sci‑fi imagery of aquatic worlds and Drexciyan warriors. Haqq worked closely with Drexciya’s James Stinson and Gerald Donald to ensure the artwork reflected their conceptual universe—an oceanic utopia blending mythology, science fiction, and techno futurism

This was my first full-length album release on Planet Mu back in 2012. The music is all quite mossy and quiet-sounding compared to other releases. The cover, which I designed was influenced by the French comic book artist Moebius. The water flumes come from my time spent growing up in Paisley at the Lagoon leisure centre.

It was hard to pick just 1 Skull Disco cover because they're all stunning and very unique works of art by Zeke Clough. He references a mix of Egyptology and heavy metal imagery. It looks more of a stoner metal cover than a dubstep release, which is why I think it stands out so much.

Russell (Haswell) kindly gave me a copy of this earlier this year. I'm a big fan of minimal swiss type inspired layouts, the cover is by Norm from Zurich. Performed as a live diffusion across 8-channels at the X100 Festival, Berlin, 2023, celebrating the 100th anniversary of Xenakis' birth.

This record furthers the duo's exploration of Xenakis's UPIC system as the sole instrument. The UPIC is a computer music system that generates sound from visual input. The original intention of the system developed by Xenakis was to make a utopian tool for producing new sounds accessible to all, independent of formal training. One can locate footage of Xenakis and a group of children making drawings for the system in the 70's.

This was my first collaboration with Matt (Cutler). We first met in La Cheetah in Glasgow after I went up to say hello in the DJ box and mentioned I was a fan and wanted to work together. I designed a few more sleeves for him and spent a few years touring his AV show around the globe many times. It was such a fun period of my life. The cover design represents the vivid saturated feel of the music. I remember the 3D cover taking forever to render!

This was one of the very first album releases on Plant Mu from 1998. The debut record by Dylan Nathan (also responsible for the artwork), Spectrum runs over an hour and showcases a wide range of styles including IDM, drum and bass, electro, and leftfield electronica. The album as a whole reflects the late‑90s surge of innovative electronic music alongside peers like Aphex Twin and µ‑ziq.

I designed this one alongside Adam Rodgers from Numbers/International Magic. This was one of my earlier works using Cinema 4d, we composited a picture of Russell into the scene, melting into the aquacrunk slime.