Six years after her debut From The Ground, Heather Woods Broderick released Glider at the end of last week via Western Vinyl. In an ongoing celebration of the visual side of the music industry, we're happy to introduce the thoughts, ideas and inspiration that went on behind the cover art for Heather Wood Broderick's latest album - pictured above - courtesy of the artist herself. So if you were wondering who that lady in the photo is, read on.

"Throughout the process of writing and recording the demos for Glider, I was keeping my eyes out for potential cover images that resonated with me. I had actually found an image that I liked a lot, and sort of had that in the back of my mind throughout the recording and mixing process. As the recordings developed and took shape, I began to feel like this image was too heavy and unmoving to be attached to the sounds we were making. I already had the idea to call the record Glider. I came to that through a process of elimination - just going through lyrics and song titles to see if one might feel right as an album title. Glider was really the only word in the record that felt appropriate.

"With the title in mind, and while listening to nearly finished mixes, my brother Peter and I were trying to think of an image that felt better suited. He had recently gotten a disposable camera developed that was mostly photos taken at my Grandmother's 80th birthday party. One of which was this gem of her standing on her balcony overlooking San Pedro harbor. I loved this photo already, because it really captured my Grandmother's glowing spirit. I wanted an image that was beautiful and light, but had an element of darkness as well. At one point I had referenced the cover of 'Floating Into The Night' by Julee Cruise. We pulled this photo of my Grandmother back out, cut it into a square, and sat there looking at it while listening to the mixes. I quickly felt like it was the perfect fit, and even felt that it made sense with the title of the record. All of the elements I was looking for were there. Beauty and light coming from both my Grandmother and the bright flash from the disposable, and a darkness or strangeness from the slightly asymmetrical composition and graininess of the hazy LA sunset seemed like a good visual component to support the songs.

"The idea of putting a photo of myself on the cover was suggested in conversations about potential covers. I didn't really want to go that route, but it did spark the idea of putting myself inside or on the backside, and eventually developed into the idea of putting myself in my Grandmother's birthday outfit, and re-staging the party scene. This idea stuck, and almost a year later to the date of the original photo, I made a trip to LA to setup the party. I rented all the same tables and chairs again, set the table with the same dinnerware, made flower arrangements, got my nails done in the same color as my Grandmother's, used her lipstick, studied her pose, etc.

"Dusdin Condren, an amazing NY based photographer and friend, met me there and shot a whole series of these photos as the sun began to go down. There were a lot of photos to choose from, but in the end I chose the back cover to be one where I wasn't imitating her completely. It felt more like a nod to someone who is very dear to me and whom I have always admired, whereas the exact imitation shots felt a little too funny. Pastels, pink feather boas and big lipstick smiles aren't the usual makeup of my natural state.

To finish it off, I had my Grandmother write out my name, record title, and song titles. We've been pen pals since I was very young, and I've always loved her ladylike script."