NOISE / INDUSTRIAL COVER ART

[heretogo]

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.

[pontifx]

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!

[heretogo]

Here's an example of very simple LP cover that works beautifully, Hands To - Egress:



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.

[FreakAnimalFinland]

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..

[heretogo]

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.

[Zeno Marx]

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.

[Andrew McIntosh]

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.

[heretogo]

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).

[post-morten]

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.

[P-K]

23 Skidoo

hell yeah

[post-morten]

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...

[XE]

few of my faves:

[Cementimental]

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

[pitchphase]

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

[ConcreteMascara]

I love it when labels do nice art for the center labels. Often overlooked!