a) I am jumping on the idea that Giger too had an interest in the African synth-funk music artist William Onyeabor and and wanted to do something with this interesting album cover, "Crashes in Love" (1977), now that news of William Onyeabor's death has settled a few days. I come to understand out of the blue that the design was absorbed into Giger's Life Cycle Hieroglyphics (1978).
b) The spinning record becomes transformed into the fleshy sun like structure at the top of Giger's painting while the legs transformed into a strip of film in the lower centre becomes transformed into the tale of the Face Hugger.
c) Holes in the side of the film forming the big circle in the album cover, become transformed into ribs and ribbing.
d) This of course becomes merged with Egyptian imagery of the sky goddess Nut and Ron Cobb's concept art for the life cycle hieroglyphics inspired by tree of life imagery from the Dresden Mayan Codex.
e) If one looks at the upper cutaway egg in Giger's Hieroglyphics, the album cover becomes the basis for the egg, the strip of film once again the Face Hugger tale, the W transforms into the Face Hugger's body with fingers, the spinning record becomes the egg opening, and the holes in the side of the film of the large circular form in the album become the shell of the egg with its interior layer of ribbing.
|Original life cycle tableau|
f) Another album that Onyeabor had released, that year, called "Atom Bomb" sounded right up Giger's street with his own interest in a post-apocalyptic worlds leading to his picture Atom Kinder,
The strange song features the singer wanting to express how he feels, the women asking how he feels and the answers that he is going to explode, thy ask if he means he is going to explode,, and he sings that he is going to explode like an atomic bomb, and the women singing repeat the words Atomic bomb.
On the cover, Onyeabor is sitting there singing into several microphones at once as if having all those microphones at once while living in a quiet nowhere place in Nigeria, was a status symbol with his keyboard set up.
William Onyeabor singing into the microphones transformed into a Demon (work 513) that merged with something that ought to have lurked in Hieronymous Bosch's imagination, (Here I am assuming that Giger's mind started to play with names merging them together much as he did with Jethro Tull and William Tell in Mordor IV) See: HR Giger: Demon (work 513) references Onyeabor's image from Atomic Bomb album cover?