Leif Podhajský
New Psychedelia

The first monograph of the celebrated mind-altering artist and album cover designer

  • Funding ended
  • 587 backers
  • $36,013.55 of $29,977.50 pledged
Funded 120%
  • Funding ended
  • 587 backers
  • $36,013.55 of $29,977.50 pledged
Funded 120%

From the liquid light shows and magic mushrooms of the 1960s to the techno raves and micro-dosing of today, psychedelic counterculture is repeating itself. Catalyzed by international climate protests, a sense of unity in collective political disillusionment and a strong focus on the individual, a new, digitally supercharged visual language is emerging.

Over the past decade, Leif Podhajský’s kaleidoscopic artwork has carved out a unique space for the resurgence of psychedelia, reinvented for contemporary culture through the exploration of the relationship between the organic and the digital. By highlighting the act of human perception and the fragility of the physical world as it appears to us in our imaginations, Podhajský’s work speaks to a new generation of curious minds.

Best known for his striking, Grammy-nominated album covers for the likes of Foals, Bonobo, Lykke Li and Young Magic, Podhajský deftly crosses the boundary between sound and the visual. The reverberating, ethereal vocals of Tame Impala’s debut album Innerspeaker, for instance, are embodied in the visual space of Podhajský’s iconic, ever-retracting dreamscape cover. Synaesthesia, which manifests itself for Podhajský as the appearance of colours with sounds, plays a significant role. Music becomes a pebble dropped into a pool of colour inside the mind, causing ripples to spread and shades to surface.


Leif Podhajský

Darren Wall

Evie Tarr

270 x 215 mm
224 pages
Custom page edges
Printed in 5 colours



• Your name in the book
• Exclusive updates

Signed book

• Signed by the author
• Your name in the book
• Exclusive updates

Book + T-shirt

• Limited-run T-Shirt
• Book signed by the author
• Your name in the book
• Exclusive updates

Collector’s edition + tote

• Limited edition
• Exclusive design with slipcase
• Signed by the author
• Limited-run tote bag
• Your name in the book
• Exclusive updates

Collector’s edition + signed print

• Select one of 4 exclusive prints
• Signed 80 x 60 cm print
• Collector’s edition with slipcase
• Signed by the author
• Limited-run tote bag
• Your name in the book

Online workshop

• 30-minute one-on-one interaction with the author
• Collector’s edition with slipcase
• Signed by the author
• Signed 80 x 60 cm print
• Limited-run t-shirt and tote bag
• Your name in the book

Book Early Bird

• Reduced price
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• Exclusive updates

Funding successful. This project closed on Saturday, February 29 2020 6:00 pm UTC +00:00.

All pledges will be refunded in full if the funding goal is not met within the allotted time.

The book

Leif Podhajský’s first monograph collates and curates his vivid artwork from the past decade. The book contains chapters on psychedelia, synaesthesia, digital and organic worlds and the influence of human perception upon nature – all beautifully illustrated with Podhajský’s artwork – alongside detailed presentations of his iconic album covers: Tame Impala’s Innerspeaker and Lonerism, Bonobo’s The North Borders and Foals’ Holy Fire, to name a few. Each profile contains exclusive insight into the creative processes, collaborations, early development sketches and insider anecdotes behind each cover.

A complete illustrated chronology of Podhajský’s works to date is included at the end of the book, along with a ‘visual playlist’, compiled and annotated by the artist himself.

Leif Podhajský has put together what is arguably the most unforgettable album cover portfolio of the last few years.


Special edition

Volume will produce a collector’s edition of New Psychedelia, with an exclusive cover design featuring Podhajský’s artwork ‘Luminous Currents’, which takes its inspiration from the movement of water, depicting energy in a seamless and dynamic flow of colours. The book will be housed in a screenprinted slipcase covered in dyed-black textured paper with a debossed symbol of the artist’s own creation – and the collector’s interpretation. The symbol will be surrounded by a delicate haze of purple metallic ink.

The entire package is accompanied by an exclusive heavy-canvas tote bag, designed specially by the artist for the book and only available with this edition.

This limited edition is only available during the funding period: true fans of Podhajský’s immersive psychedelia will not want to miss out on this exceptional and covetable production.

Come dip your toes into the psychedelic stream of Leif Podhajský’s imagination for some striking abstractions of nature – mirrored vistas, engulfing waves, rippling, melting cosmic landscapes.

It’s Nice That

Signed print

Choose from a selection of four striking artworks, Slippery, Flow State, Space and Neon Bloom, all sized at 80 x 60 cm, printed to the highest quality and delivered in artist’s poster tubes. Podhajský describes the inspiration behind each one:

Slippery: “I wanted to create a series of artworks that adapted a painterly approach but were created digitally. A transference between the digital and organic worlds. An abstract interaction of colours that felt painterly and alive.”

Flow State: “Mimicking microscopic organic worlds. I wanted to represent the flow between all life and energies.”

Space: “Interlocking circles merge and rearrange the light as they pass each other, creating fractures in time. An exploration of colour and shape.”

Neon Bloom: “Cybernetic blooms that glow and pulse in the night sky. I wanted to explore what plants might look like on alien planets, grown in darkness yet giving off a vibrant pulsing glow – like deep ocean animals that thrive in the darkness.”




The Berlin-based digital artist and creative director creates swirling galaxies of colour and marbled patterns that seem to float off into eternity… and there’s no one else making anything quite like it.

Monster Children

Meet the author

Leif Podhajský is an Australian graphic designer, artist and art director, known for the distinctive album covers he has designed for some of the past decade’s biggest electronic, indie and psychedelic artists – Tame Impala, Bonobo, Foals, Of Monsters and Men, Mount Kimbie and London Grammar, to name a few. His striking style has also attracted leading brands, such as Nike and Ralph Lauren, and the likes of Sydney Opera House, where he has exhibited his ethereal video installations and designs as part of the Vivid Live festival since 2016. Podhajský grew up surrounded by the waterfalls and rainforests of Byron Bay and has since lived in Melbourne, London and, presently, Berlin.

The joy of collaborating

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As we get closer to our shipping announcement, we spoke to Leif Podhajsky about how his many collaborations with high-end brands came about and what has made them successful. The answer? Making sure it’s a natural match and having a mutual outcome in mind.

“I like things that make sense, collaborations that go together,” he explained. “Not just doing it for the sake of it, but there being something that lends itself to a relationship together.”

Working with brands on product design also allows Leif to work in different mediums, something which feeds back into the rest of his work. “Album covers are probably what I’m best known for,” he told us, “but I’ve worked on a lot of different projects and I think for me, it just adds to my whole practice.”

Ponch Leif Podhajsky


“This came about through some really old friends. One of the founders of Ponch was a guy I knew from Australia, from the music scene – we had mutual friends that were in a band together – and he also moved to London at some point and then down to Margate…

“They got in touch about this project that they were working on, they wanted to start a new brand of rainwear for festivals and music events that was a little bit more colourful, was packable, and they really wanted to focus on sustainability. It’s all 100% recyclable, and it’s made from plastic bottles and the packaging is recyclable and everything’s super cool in that way…

“It can be tricky to adapt my work to a 3D product, but it’s a cool thing to try and I like doing it. I actually started out working for clothing brands really early on, so I have some idea of how to approach it. I always try and pick something that will lend itself to a print – rather than doing something photography-based, I’ll try and do something a bit more abstract with a repeat that can work across garments, because the pattern gets cut up and you might only see certain parts of it.”

Cubitts Leif Podhajsky


“I can’t remember how it happened! I think my agent at the time got in touch with Cubitts because he bought some glasses from there that he thought were super nice. He asked if he could speak to the owner, who was up for the project…

“This was an interesting one because it was a little more focused on design rather than creating a print, and we came up with a few different ways to do the collaboration, for example whether or not we put a print inside the acetate frame itself, but it ended up being more interesting for me to design the actual glasses and choose from all the different patterns they had.”

Bower Leif Podhajsky


“This is also a friend’s brand, also from London. My time in London was really interesting in that sense – I met so many people and they all started things around the same time. I’d moved there and I was working on my stuff, and I think that’s what I really miss about that time. There were people working on music, and everyone who I knew was doing something creative and has gone on to do successful things…

“Bower were interested in things that are really nurtured and handmade, more than this mass-market stuff. They got in touch initially to do some menswear, but we decided to do the women’s swimmers and a unisex shirt, which I love. It was sort of the same with the print, in that we worked on something that could fit a textile design. It all happened quite organically in a way.”

And finally, on his biggest collaboration to date: the book. As with everything this year, the process was hampered by pandemic-related travel restrictions, but he’s as delighted with the final result as we are.

“The covid thing didn’t help of course, because I really wanted to come over and sit with the designers and be super geeky, so that made it a bit harder and the process a bit longer, but it’s better than I could have hoped for. I’m really excited.”

The Volume team.

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