In addition to the playlist which most often covers the music, I wanted to start a topic where people could "review" or talk freely and put critical views on cover artworks - I often find focus laying on the music today, but for me artwork has a large part of my impressions of the whole product and therefore can be subject for individual critizism. So - feel free to discuss record and tape covers only - to set it apart from the music, which can be discussed elsewhere. I'm interested to read impressions on what can be read between the lines. Something beyond personal likings as positive/negative - ans also not only thoughts regarding techniques and themes.
good threat
personally I consider artwork/sounds/concept, etc at the same level.
I guess I'll start:
I don't particularly like the font used on the new Genocide Organ release. It should be their sans serif, like on all their other releases. it's why i thought it may be a fake when i saw it...
(http://www.fluid-radio.co.uk/wp-content/uploads/2010/05/Kevin-Drumm.jpg)
(http://www.mimaroglumusicsales.com/g/tw-iadetail1.jpg)
One of my favorite sleeves right now is the vinyl re-issue of Kevin Drumm´s first album. The Wire has already covered it in "The Inner Sleeve", actually it was that article that made me buy it since i already have it on CD before. Not my favorite Drumm album but it´s totally a great one for sure. The cover photo is from a very near close up of a guitar, maybe his one? And you can actually feel the rifts on the cover. Comes in a very thick gate-fold cover, feels very luxurious.
The info says Heavy "Tip-On" Gatefold Jacket with spot gloss & matte finishes and textured de-bossing." Anyway an AMAZING cover.
If you have not heard the music i can say it´s one of his prepared guitar albums, so the cover fits very well with the music. Well thought is maybe a better word.
Quote from: Nyodene D on April 07, 2011, 04:09:51 PM
I don't particularly like the font used on the new Genocide Organ release. It should be their sans serif, like on all their other releases.
I second that.
This font / design issue has been in case of many new Tesco releases. I don't know if their lay-out maker has changed, but many new releases like Ke-Hil LP or In-Konflikt font/design choices are far beyond the glory days. Of course, they are STILL high quality in terms of technical quality. But what comes to design-eye, sometimes you wonder what has happened?
I wasn't very impressed with IRM red album cd version. I thought the change of font and putting logo just about 20 times bigger than it was in original design (keeping in mind diameters of cover), it looked quite strange. No amount of neat embossed techniques or gloss lamination could save it from that. When you compare to other recent Autarkeia which are quite tasteful in their label aesthetic, to me that stood out very negatively.
I have not had that many of total "WOW" type of reactions. I think what I did like, is for example JAZZKAMMER monthly CD series. Not all the covers, but the idea to have actual visual artists to work different visual look for every release, even if it follows the technically superior Pica records lay-out.
I admire also the neat typography based design of Galakt Hörro. Even something like lated Herman Köpp 7", it is simply amazing. That recycled-brown/grey type of cover is something I often appreciate greatly. Therefore I could also give credits for the recent Clew Of Theseus LP. It has certain minimalism and certain "filth" in it's approach, yet not as far as xeroxes of low-res internet prints folded badly, heh!
...
What comes to my own work, I have enjoyed the idea, that label or bands has never had "style". When you try to put label into certain category, it just has it all. From lowest gutter xerox arts to silkscreens, to computer made full color covers to releases what may look "stylish" or releases what may look just silly or dumb if judged by same standards. Some cases where technical issues are on good standards, some which leaves a lot to be hoped - perhaps making it strange to criticize similar "mistakes" made by others... This leads to kind of double standard, which I do acknowledge. For some people, you just expect more. Based on their old achievements. And some others may pass the critical comments simply since you didn't expect anything better from them.
I miss the good old craftmanship of releases. That you see that it's not just factory line of foil prints and embossed & spot varnish that supposedly makes it "special". And that the handmade doesn't mean it would translate immediately to lowest possible effort made. With a friend, we were just asking together, why there can't be as tasty LP's as "Ultra Point Of Intersection Exist" ?? Re-issue of the material on Steinklang - possibly re-visioned due request of artist who no longer likes "corpse photos", looks very much out-of-place for 1987 industrial-noise. Original cover looks like the result is what it is, due heavy work and taste in placement of all the elements. But this isn't just issue of noise, but all the music out there. After recently listening dozens and dozens of old punk releases and admiring their design, it's just different times now. When many old releases became unconsciously nice, now it actually requires actual taste and talent to meet the old standards? Where easiness of finding pro-printer for your stuff, has reduced the visionary special packaging of releases. I don't necessary mean Hands To "flatline" LP 2009 version (which perhaps goes to "wow" category!), but even that something like Hospital doing silkscreened covers, not the standard factory LP. Tesco doing landmark innovations of design and not just digipaks. Power And Steel presenting pretty simple but charming 10"s, not just polished computer generated graphics on digipak.
For CD, afterall, I do like jewelbox packaging quite a lot. It has alternatives, but for functionality and presentation, it is still better than many other options. I don't really care for digipaks at all. It's not totally about "cover artwork" discussion, but related.
http://www.discogs.com/Sat-Stoicizmo-Mah-2/master/85609 (http://www.discogs.com/Sat-Stoicizmo-Mah-2/master/85609)
perfect sleeve, perfect sound, perfect release
Just got Philip Corner - Metal Meditations on Alga Marghen - fantastic record, with just perfect artwork, was even lucky enough to get the bronze print version. It's been awhile since I have been so stoked on the overall presentation/aesthetics of a record.
As for my own releases. The shift design wise from my old tapes to the Freak Animal album. A less crude, dare I say more artistic aesthetic, seems to have alienated some of the (small) crowd normally interested in my recordings. Maybe that goes to show that it is indeed possible for an artist to paint him or herself into a corner of a certain aesthetic hard to escape. That being said I'm very satisfied with the latest release and the somewhat lack of response is not of big importance for me.
All time greatest noise artwork is IMO thick cardboard-era Hospital Productions, The Prurient/Nicole 12, Macronympha and River Slaughter LP's is without a doubt the best looking records in my collection. Shame it's mostly professional style CD releases nowadays, mind you extremely tight and well done, especially the Cocaine Death CD looked and felt really good(sound's another story I guess, heh).
(http://www.normanrecords.com/images/covers/1/118251.jpg)
One of Olson's best, and he's generally quite good, Dead Machines Plays Invasion of the Body Snatchers is a real highlight, both visually and sonically, not only in the Dead Machines catalog, but in anything Olson has touched over the years. Nothing tops the art for "Futures," though:
(http://i.ebayimg.com/00/$(KGrHqMOKj8E0t+z5dOWBNckcZK4v!~~_3.JPG)
Going in a completely different direction....
(http://www.tochnit-aleph.com/shop/products_pictures/Nitsch18R.jpg)
Such a vision of Eros and ecstasy, Hermann Nitsch's Das 6-Tage-Spiel des Orgien Mysterien Theater (CD version in LP sized cover) cover art is so simple and beautiful, and a rare example of an album cover that I believe effectively uses photography. I'm also a big fan of this picture disc art, below:
(http://static.rateyourmusic.com/album_images/2f7e85d455f3c8536896f77b80cc7e25/2170193.jpg)
Nitsch is a real master of imagery.
Although the re-release changed the design, I really like the 2007 edition CD artwork for this, one of my favorite NWW albums. It's an example of artwork changing for the rerelease that I actually think worked out in the end.
(http://1.bp.blogspot.com/_Cs29GzmsaD8/S_h3y6fD04I/AAAAAAAACG0/aQACWRDasMg/s1600/front2007.JPG)
While it works well, in my opinion, the original is even better:
(http://1.bp.blogspot.com/_Cs29GzmsaD8/S_hwN24LgOI/AAAAAAAACGs/t6hHt9mkkGE/s1600/nww1.JPG)
I'm a big fan of the fancy Doctrine of Intolerant Hatred 2xLP by Deathkey. The thick cardboard combined with lacquered (?) ink or whatever it was called. Very nice. The booklet looked really good too. Deathkey has a nice minimal aesthetic. The whole set felt nice and weight-y, like I was holding something more than just another record.
Survival Unit's Fentanyl Martyrs 2xCD is also quite a nice alternative to standard and boring CD packaging. Like a well designed tombstone for the band.
Unrelated to noise but in general I've always been a big fan of the Designer's Republic work on WARP, especially for the mid and later period Autechre albums. The vinyl version of Draft 7.30 and EP7 especially come to mind. Computer graphics that are extremely sharp and absent of the shitty pixelated crap.
Brotzmann's graphic design template is appreciated.
Great cover art is quite rare. Ok, there are lots of nice & stylish covers out there but ones that would really stick to mind are hard to come by. At least in experimental/noise type of music, rock & related stuff is a different issue. But one I have always liked is Max Neuhaus's Electronics & Percussion - Five Realizations by Max Neuhaus LP. Great music & cover art, proper academic presentation with just enough of caveman aesthetics to make it truly fly.
(http://s.dsimg.com/image/R-815271-1187980234.jpeg)
Regarding jewel cases, I have to strongly disagree with Mikko. They suck, plain and simple. Sure, they are functional and cheap but they also remind me of supermarkets and disposable ideas. Run-of-the-mill digipack is not optimal but much better. For me, the best "standard" cd packaging are thick cardboard covers like for example No Fun uses. I like the idea that over the years the packaging will suffer some individual wear & tear and turn into something unique and personal.
that "intellectual art"- way of seeing and rating things is pointless and stupid. a little bit gay too...
Quote from: pontifx on April 09, 2011, 08:19:34 PM
that "intellectual art"- way of seeing and rating things is pointless and stupid. a little bit gay too...
What are you even saying? Perhaps there's a language barrier? Though looking at the cover art on the site linked in your signature, I'm thinking it's more likely a brain cell barrier.
Some of my absolute favorites of all times noise/pe/industrial covers:
Grey Wolves - Punishment LP. Not just the front cover, but complete "crass style" 6xLP size poster sleeve.
(http://s.dsimg.com/image/R-182358-001.jpg)
Grey Wolves - catholic priests fuck children. Not just the front cover, but complete "crass style" 3xLP size poster sleeve.
(http://s.dsimg.com/image/R-182740-001.jpg)
Genocide Organ - mind control. Not just the image itself, but the also technical side - printed metal plate attached to black sleeve.
Typography works far more better than in many releases.
(http://s.dsimg.com/image/R-182363-1232489844.jpeg)
Organum - Vacant Lights LP, and of course back cover counted in. Artwork is simple but tasty. It is at the same time little bit "modern" (in 80's?), but at the same time also classic art in a way that there is proper skills involved.
(http://s.dsimg.com/image/R-98690-001.jpg)
and of course could go on for long time. I think these cases just show me that the "collage", the black & white "underground methods", all work very well, when it's done well. Each of the bands has done also pretty horrid covers later on. Like Organum with their dullest ever color fonts on white sleeve for last 10 years now...
BUT, I would strongly suggest, that perhaps there could be some braincell issues occasionally, but most of all, the aesthetic that you have been influenced just like you've been captured by the sounds. I wouldn't be surprised if Heretogo doesn't get much out of the artworks I posted, but at the same time, I don't see what exactly is the "special" in Neuhaus cover. I do like the "vintage" psychedelic circles, but image itself and the typography doesn't do anything for me.
It's like in the so called academic releases most often. Classical music releases have some of the worst artwork. And while I'd like it to be cover that actually could capture the mood of album... no no. Lets put some most tasteless abstract computer color fade to the cover that indeed looks like something sold at supermarkets in 2€ bin (see jewelbox reference). It is the context where one has come across something in situation which has been everything else but motivating. Indeed, jewelbox reminds of "regular". But in times, when special has become such a forced "novelty", I actually prefer regular. Like said. Over embossed digipak with nice golden foil lettering and little spot varnish and otherwise "stylish" grey on black art. Oh please, give me just something like Sutcliffe Jugend "s/t" CD and I'm happy! Cover with absolutely nothing. Technically or on design.
Therefore, the most I would value the very very basic idea on cover: Image(s) and it's purpose. LP would work great if it's just good image and necessary amount of text. So what is the good image? I guess different things appeal to different people. When I look some of my own choices, like Silence of Vacuum tapes for example, despite taking like 10 minutes time to make, I feel they are among the very best selections. Same tape, same design, with image of some skank on pvc miniskirt exposing some flesh from late 90's UK fetish mag.. would have been atrocious.
Quote from: FreakAnimalFinland on April 10, 2011, 09:12:43 AM
I don't see what exactly is the "special" in Neuhaus cover. I do like the "vintage" psychedelic circles, but image itself and the typography doesn't do anything for me.
Well, let me try to explain. For me, it's often the tasty little details that do it. This is an album of academic electronic music (pieces by Cage, Stockhausen etc.) on Columbia Records. And there in the cover photo you have this hairy, rough hippie-looking guy with his chest exposed just waiting to show you the damage he can do with his "electronics & percussion". This appeals to me enormously, small contradictions and opposing trends. And then you have the addition of car batteries (maybe not clearly visible in the small image above) on the table in front of him. By all reasoning, they don't belong there and that makes it interesting.
Quote from: catharticprocess on April 10, 2011, 06:05:41 AM
Though looking at the cover art on the site linked in your signature, I'm thinking it's more likely a brain cell barrier.
I liked the artworks you posted. beside that thanks a lot for concentrating all my stereotypes in one post. good job!
Here's an example of very simple LP cover that works beautifully, Hands To - Egress:
(http://s.dsimg.com/image/R-538787-1140901056.jpeg)
It's just a photograph glued on a white generic album cover and another one on the back side. Just the fact that you have this normal, glossy photograph pasted on the cover gives an extra dimension to the whole thing. If the same image was printed on the cardstock, it wouldn't work nearly as well. Obviously you cannot appreciate it properly from the image above but when you hold the LP in your hand it feels special. Combination of nice image & simple design.
yes, I agree. Just recently had some lengthy e-mail discussions about the importance of the technique and print methods etc. I think, there is a big difference of relevant techniques and the "bling bling". Majority of things I have referred critically, to me, is like the "gansta" with too big jewelry. Nothing is going to make it look nice. The excess of bling bling will be funny, at best. But still, that and things like the "modernity" of 80's chrome & fake leather in couch appeals to someone (who?), these things like gloss, glitter & embossed sleeves will appeal to someone, even when it shows nothing beyond the superficial value. When only substance is the gimmick. And without it, there's nothing. When jewelry is moderate and in right place - on right person. Then fine. It'll work. But even then, one can see that jewelry alone isn't what works.
In case of Hands To, one could feel that the photo of this LP, is just as much souvenir.... artifact... trophy.. of some sort - from exactly same route that was done for sake of sound? It ties the sonic and visual presentation. Just like his walkman captured the sounds of desert, his camera captured the sights of desert?
One could mention Taint / Strict split 7". There is nothing "artistic" about it, but could there be anything more suitable? Photos roughly pasted on even more gruesomely silkscreened brown cardstock. I remember when this came out, and one US noise guy, pretty offensive with his works, commented that it just goes too far. And when you have people experienced with noise/pe for ages, and some 7" makes them realize this is like diary of predator, it is seems success to me. Just concrete link, too close to subject matter of songs, not just pasted on irrelevant cliches.
So could there be more successful cover than that? It does the same thing as Hands To, but related to subject matter in question.
I do admit, that Heretogo's explanation of context where its presented, is what may make thing work. I used to buy quite a lot of records based on how they look. And it used to be pretty good indicator. Nowadays, I don't do much that anymore. Most covers don't really communicate in that way. Latest thing I bought solely based on cover, knowing absolutely nothing of the band, was Twerdocleb 7". Not bad..
Quote from: FreakAnimalFinland on April 10, 2011, 04:00:07 PM
In case of Hands To, one could feel that the photo of this LP, is just as much souvenir.... artifact... trophy.. of some sort - from exactly same route that was done for sake of sound? It ties the sonic and visual presentation. Just like his walkman captured the sounds of desert, his camera captured the sights of desert?
Exactly. You captured the essence of what is great about the cover design, much better than I could. Field recordings - raw photography, perfect match. And somehow the presence of the photograph makes the whole thing much more... concrete. You can feel a definite connection to the sounds via the photo akwardly glued to the cover. Souvenir, memento... that's exactly what it is.
I'm not sure if this is the case any longer, but when you used to order something directly from Jeph Jerman, he would often make the J-card out of a photograph. Sometimes include stones and found objects from the site. I've never seen more than a single copy of Egress in one place at any one time, but I always assumed each one had a different photo.
One of the great things about the home taping network during the 80's and 90's was the deliberate personal touch many applied to their packaging, as befitting a movement that came from the mail art network. I've got one or two nice, home made items and have always appreciated the effort made by those who put out and package their own material, rather than more mass produced items. One very simple thing I've liked, for example, is Zan Hoffman simply using photographs for the cd packaging; putting one of those centre knobs on the other side and treating it kind of like a postcard. It's little personal touches like that, that touch me.
Having said that, times have changed and with too many people putting out too many indifferent releases the gimmick wears thin. Packaging has become more important than content (another HWN box set, anyone?). One personal bugbear is cd covers that are over-large; when you've got a fair few cds it makes storing difficult and damage to covers somewhat inevitable, despite all care taken. The other hand is that some of those over-sized items do make good decorations for the cd shelves when tacked up.
Quote from: Zeno Marx on April 11, 2011, 03:38:27 AM
I've never seen more than a single copy of Egress in one place at any one time, but I always assumed each one had a different photo.
Mine is at least identical to the one in the Discogs image (above).
Being a child of the postpunk era, I really came to appreciate the idea of labels working with a specific designer to create a unified graphic profile for their releases. Peter Saville's work for Factory, and Vaughan Oliver for 4AD, are classics of course, as is the series of covers that Holly Warburton did for Danielle Dax. But for me noone else captured the zeitgeist like Neville Brody's dark, mystic, evocative artworks during his stint with Fetish Records (8 Eyed Spy, Bush Tetras, 23 Skidoo, Clock DVA, Stephen Mallinder + more). Also like Rune Grammofon's cooperation with Kim Hiortöy... instantly recognizable.
Quote from: post-morten on April 11, 2011, 04:58:43 PM23 Skidoo
hell yeah
(http://991.com/newGallery/23-Skidoo-Tearing-Up-The-Pl-215434.jpg)
Quote from: P-K on April 12, 2011, 10:20:04 AM
hell yeah
A great EP both style- and musicwise, even though Neville Brody wasn't responsible for that cover. My introduction to 23 Skidoo actually.
I was thinking more along these lines when I mentioned Brody. Still to this day I get goosebumps when presented to these covers...
(http://s.dsimg.com/image/R-150-29041-1243007953.jpeg)(http://s.dsimg.com/image/R-150-442736-1114437703.jpg)(http://s.dsimg.com/image/R-150-134889-001.jpg)(http://s.dsimg.com/image/R-150-29043-1292916164.jpeg)
(http://s.dsimg.com/image/R-150-795667-1159613981.jpeg)(http://s.dsimg.com/image/R-150-29042-1200951116.jpeg)(http://s.dsimg.com/image/R-150-451568-1115321423.jpg)
few of my faves:
(http://img13.imageshack.us/img13/6806/r20011081257796638.jpg) (http://img13.imageshack.us/i/r20011081257796638.jpg/)
(http://img20.imageshack.us/img20/30/r7126621150760532.jpg) (http://img20.imageshack.us/i/r7126621150760532.jpg/)
(http://img546.imageshack.us/img546/6197/tervee1.jpg) (http://img546.imageshack.us/i/tervee1.jpg/)
(http://www.importantrecords.com/images/content/imprec205_merzdolphin.jpg)
JUST KIDDING.
Dave Phillips 'They Live' is pretty great, same art also used on a recent UK edition of The Man in the High Castle
(http://3.bp.blogspot.com/_pfYEDIPH_WY/ShX7UWt-OKI/AAAAAAAAD8s/7moywmNONmo/s400/phillips.jpeg)
Annie Anxiety's "Soul Possession" (1984) not only a great LP but all of the artwork/layout is really well done- from cover to inner sleeve to record labels. stark Crass / On U Sound visuals
(http://pitchphase.com/photo/misc/SP1.jpg)
(http://pitchphase.com/photo/misc/SP2.jpg)
(http://pitchphase.com/photo/misc/SP3.jpg)
(http://pitchphase.com/photo/misc/SP4.jpg)
(http://pitchphase.com/photo/misc/SP5.jpg)
(http://pitchphase.com/photo/misc/SP6.jpg)
I love it when labels do nice art for the center labels. Often overlooked!
I love anything produced by Jim Foetus, his radicalisation of pop art (which I usually loathe) and work on fonts is admirable.
NSK's work is impressive as well. Strong iconic elements, with parts that looks as if they are actually coming out from the cover itself as the original paintings.
Personally I don't have standards and I think artwork is as important as sounds/lyrics and concept, but it must somehow depends on it. Which it doesn't mean that what's on a cover must necessarily illustrate the concept, but can suggest similar atmospheres.
Same goes with actual logos. A knife, a knuckleduster, a hammer, a skull may be obsolete and redundant since they have been over-used by everybody, but it can still work in a specific moment/reason.
Personally I am a sucker for digital editing, especially considering that I am completely unfit to work with my hands, but also because it enables extending the whole collage/cutup work at length, especially when you work with colours. But I am still turned on by anything done by hand.
If I think about the BU box, zyklon b, or the GO slave our slaves box I think about perfection, since there you can touch, feel, read, listen (and wear) all the stuff having a "total" experience.
But at the same time give me early whitehouse/ramleh minimal works and I still see perfection.
Yet,
The new Nicole 12 LP... Wow.
Cheers to Jukka and Mikko! Feels like the kind of thing you'd wrap in brown paper before you'd leave the store with it.
Quote from: ConcreteMascara on April 20, 2011, 12:53:43 AM
I love it when labels do nice art for the center labels. Often overlooked!
Great point,a majority of labels seem to loose something when it comes to center labels,always wondered why?
I was recently looking over my friends collection and saw what looked to be some cover art that I thought was going to be some Pop-Punk band and it ended up being Ramleh, 8ball In The Corner Pocket. Probably the worst cover art in the Industrial genre and connected sub-genres along with the Skullflower art on the same label, Sympathy For The Record Industry who probably made the most horrid art work that look like they belong on Screeching Weasel covers or one of the hundred Epitaph compilations.
Quote from: RyanWreck on July 20, 2011, 08:41:13 AM
I was recently looking over my friends collection and saw what looked to be some cover art that I thought was going to be some Pop-Punk band and it ended up being Ramleh, 8ball In The Corner Pocket. Probably the worst cover art in the Industrial genre and connected sub-genres along with the Skullflower art on the same label, Sympathy For The Record Industry who probably made the most horrid art work that belongs on Screeching Weasel covers or Epitaph compilations.
They're also thanking Ian McKay on the sleeve. Pretty funny presentation overall. No idea what kinda acid they must've been tripping on at the moment though.
Quote from: nidding on July 20, 2011, 05:25:27 PM
Quote from: RyanWreck on July 20, 2011, 08:41:13 AM
I was recently looking over my friends collection and saw what looked to be some cover art that I thought was going to be some Pop-Punk band and it ended up being Ramleh, 8ball In The Corner Pocket. Probably the worst cover art in the Industrial genre and connected sub-genres along with the Skullflower art on the same label, Sympathy For The Record Industry who probably made the most horrid art work that belongs on Screeching Weasel covers or Epitaph compilations.
They're also thanking Ian McKay on the sleeve. Pretty funny presentation overall. No idea what kinda acid they must've been tripping on at the moment though.
I did not notice that they thanked Ian McKay, I'll have to look at that next time.
Quote from: nidding on July 20, 2011, 05:25:27 PM
Quote from: RyanWreck on July 20, 2011, 08:41:13 AM
I was recently looking over my friends collection and saw what looked to be some cover art that I thought was going to be some Pop-Punk band and it ended up being Ramleh, 8ball In The Corner Pocket. Probably the worst cover art in the Industrial genre and connected sub-genres along with the Skullflower art on the same label, Sympathy For The Record Industry who probably made the most horrid art work that belongs on Screeching Weasel covers or Epitaph compilations.
They're also thanking Ian McKay on the sleeve. Pretty funny presentation overall. No idea what kinda acid they must've been tripping on at the moment though.
Different Ian McKay - this guy was a South London studio engineer.
The story behind that Ramleh 8 Ball sleeve art is that it was supposed to be UK soap opera actress Nicola Stapleton who played the character 'Mandy' in EastEnders who ended up homeless at Christmas, trying to find solace at the North Pole - P Best must have been on some heavy PKD/Valis mystic kick at the time - she also ends up on the Works III and Be Careful What You Wish For sleeves and sampled on the final track on Soundcheck Changeling....there's also a charred picture of her in American Campgrounds.
While I'd agree that sleeve wasn't very well executed, the Night Hair Child single on Sympathy has magnificent cover art. The Ramleh/Skullflower releases on Sympathy are pretty much 'dark psychedelia' or 'abject space-rock' recordings with nothing to do with the industrial genre beyond the pasts of some of the musicians, and some of the preoccupations hidden therein. I love those records myself for the way the darkness and depth of the concepts are disguised to the initial glance.
The best "disguised" album art has to go to Whitehouse Twice Is Not Enough. Everything in that room has something to do with the usual Whitehouse subject matter. From the table to the flowers to the Lolita magazine, scissors and everything else in between. I still can't find the subliminal message written somewhere on the Dog, though. I wonder if they have done this with anything else they have put out? SJ's great Deathmask was a kind of "inside joke" type thing as well for those who knew about the Fred West and Rose West case.
Liver Mortis kind of did this with 25 Minutes Over Holly, but the original ltd. release came with an insert spelling it out which pretty much ruined the mystery in my opinion.
Quote from: HongKongGoolagong on July 20, 2011, 07:23:55 PM
Quote from: nidding on July 20, 2011, 05:25:27 PM
Quote from: RyanWreck on July 20, 2011, 08:41:13 AM
I was recently looking over my friends collection and saw what looked to be some cover art that I thought was going to be some Pop-Punk band and it ended up being Ramleh, 8ball In The Corner Pocket. Probably the worst cover art in the Industrial genre and connected sub-genres along with the Skullflower art on the same label, Sympathy For The Record Industry who probably made the most horrid art work that belongs on Screeching Weasel covers or Epitaph compilations.
They're also thanking Ian McKay on the sleeve. Pretty funny presentation overall. No idea what kinda acid they must've been tripping on at the moment though.
Different Ian McKay - this guy was a South London studio engineer.
Not only is it a different guy, but it's a different spelling. Ian
MacKaye was Teen Idles/Minor Threat/Skewbald/Fugazi/Pailhead/The Evens.
Quote from: SKY BURIAL on July 20, 2011, 08:06:00 PM
Not only is it a different guy, but it's a different spelling. Ian MacKaye was Teen Idles/Minor Threat/Skewbald/Fugazi/Pailhead/The Evens.
I apologize from the deepest crevices of my heart. I'm sorry for thinking there could actually have been some kinda humor hidden in this.
Still trippy artwork though.
I'm a whole lot into the Mystery Sea art aesthetic. Reminds me of a more colorful, more vivd version of what SNSE did with the center labels on the Niellerade Fallibilisthorstar - Halrum LP.
Quote from: catharticprocess on April 10, 2011, 06:05:41 AM
Quote from: pontifx on April 09, 2011, 08:19:34 PM
that "intellectual art"- way of seeing and rating things is pointless and stupid. a little bit gay too...
What are you ever saying?
Quote from: HONOR_IS_KING! on July 23, 2011, 07:44:10 PM
Quote from: catharticprocess on April 10, 2011, 06:05:41 AM
Quote from: pontifx on April 09, 2011, 08:19:34 PM
that "intellectual art"- way of seeing and rating things is pointless and stupid. a little bit gay too...
What are you ever saying?
?
acutally I love art full of cliché. most artworks are full of it in the one or in the other way....seems that a record-artwork has to be cliché. it's just about using it in a useful way. some artworks of full blown aids on limited appeal rec have been great (arrangement etc.)
Spotted this 7" from MuhMur blog.
(http://1.bp.blogspot.com/-db1ozqs-1rs/T2zZ7BWmcVI/AAAAAAAACMc/XByzZ-RR9nY/s1600/BATF+001.jpg)
Where is the photo originally from? By whom was it taken? I really like it but would like to know the original context, without the punk framework. Of course it works really well that way also. Powerful cover.
Good thread .
@Bogskaggmannen: Would it be possible to alter the title? It is a bit diffuse. Had a hard time locating the thread.
changed the topic...
I was about to start a new topic for noise/pe cover art but then found this one from ten years ago or something. So, let's continue with Macronympha - Intensive Care. One of the first noise cds I bought and probably my favorite Macronympha as well. The images of sex and death fit perfectly together: swollen and mangled corpses, close up of female anus, interesting juxtaposition of circuit board and burned hands, and on the backcover a picture of Roemer's father on a ventilation machine/deathbed. All elements, starting from the chosen font, are crude and aesthetically pleasing.
Bizarre Uproar - Indoctrination of Fist and Cock. It's Mr. Bizarre with his semi-erected cock out! Some might say homoerotic, but I say this is great. Melting Pot of Cultures also has fine use of digipak layout. When you open the covers you can see the cock erected first to the left, then up and finally right! Btw. what's with the black covers of many BU albums? Or Bizarre SS collaboration. It's just BLACK with just barely visible swastika on the cd. Outcome of cover art not being allowed to be printed? In that case I understand but otherwise a missed opportunity as BU is known for the striking visuals.
Con-Dom - How Welcome Is Death To I Who Have Nothing More To Do But Die. Another family relative on a deathbed. Works very differently from the Macronympha one. I can't say this is my favorite cover, but it's definitely one of the most powerful ones. Album itself is a personal and harrowing masterpiece. Not to be enjoyed!