In addition to his photos, the book contains video stills and notes, Polaroids, and sketches from Giger’s archive. However, Giger was a fan of jazz rather than pop music, so he didn’t know much about Blondie, Harry, or their sonic output. The New York Times notes "POINT OF VIEW: Me, New York City, and the Punk Scene is a fascinating document, not only of the punk scene of the early and middle 1970s but more generally of New York City in its years of chaos, decay and creative energy. By 1964 he was producing his first artworks, mostly ink drawings and oil paintings, resulting in his first solo exhibition in 1966, followed by the publication and world-wide distribution of his first poster edition in 1969.

It is a curious project, where beauty combines with pain and life with death, just like in all visionary pieces made by Giger. Their first two albums contained strong elements of punk and new wave, and although highly successful in the UK and Australia, Blondie was regarded as an underground band in the US until the release of Parallel Lines in 1978. Blondie guitarist Chris Stein, who is also a photographer, captured the process and has been holding onto his behind-the-scenes photos for decades. The album cov­er is prob­a­bly bet­ter known than the music inside, and no won­der: it fea­tures Harry’s face pierced hor­i­zon­tal­ly by four spikes. So really this book functions as a sort of exhibition catalogue – although this collection is, apparently, more comprehensive than the physical exhibition was.With photographs and words by Chris Stein, Harry's long-term collaborator, artefacts and sketches from the Giger archive, and an introduction by Debbie Harry, this is an essential behind-the-scenes insight into the processes of an incredible creative partnership.

Those waiting at bus and tube stops would not have an opportunity to see how notorious Swiss artist H. For his part, Edwards had been a New Yorker since the age of ten, and had honed his musical awareness in the city’s array of small clubs. As a vibrant global force and a shaper of pop culture, Debbie’s chart-topping success, fearless spirit and rare longevity led to an induction into the Rock ‘N’ Roll Hall of Fame for Blondie in 2006. They were appar­ent­ly excit­ed about my work and asked me whether I would be pre­pared to design the cov­er of the new Deb­bie Har­ry album. Their decades-long successes led to an induction into the Rock ‘N’ Roll Hall of Fame for the band in 2006.More recently, in October of 2019, Debbie became a best selling author with the release of her memoir, FACE IT.

The book begins with pictures from the trio’s first meeting in New York – the Alien exhibition and socialising afterwards. Giger, best known for his biomechanical creature and set design for seminal 1979 sci-fi-horror film Alien, encountered Debbie Harry, the punk icon and lead singer of globally successful New Wave band Blondie, the results were sublime.When they decided to go on hiatus in 1981, Harry embarked on a detour into the world of acting, culminating in her finest acting performance in David Cronenberg’s 1983 film Videodrome. It’s in that role that he has worked on this book, documenting the project to create an album cover and two videos in the studio of the famous Swiss artist.

She now has over 30 film and television roles to her credit, including "Union City" (1980), "Videodrome (1983)", "Hairspray" (1988), "Body Bags" (1993), and "Heavy" (1995). If Har­ry had made an album clos­er to Danielle Dax, for exam­ple, then we might have seen one of the odd­est mid-career shifts in ‘80s music. With Blondie, she released the group's ninth studio album, Panic of Girls, in 2011, followed by Ghosts of Download (2014).

The stories behind the collaboration are really cool and it’s finely printed to capture the richness and subtle details of Giger/Stein’s compositions. Giger noted the meeting and once said: “There I was introduced to a very beautiful woman, Debbie Harry, the singer of the group Blondie, and her boyfriend, Chris Stein.