![]() ![]() Here’s another incredible tonal image is it a fractal, a manipulated photo, or a drawing? We see a shattered surface, tar paper or slate/glass, planks of support wood, some with dried adhesive-stunning constructivist chaos. This is one of the most evocative and impactful covers I have seen in some time. The back cover has a cropped image of a staircase that is equally suggestive and haunting. However, the image has been turned upside-down it disorients and allows the weight of the room to be examined in a new way. ![]() The front cover is a duotoned image of a 16th-century hall or rectory-the slightly vaulted ceiling has ornate inlays, and arched doors and a single, cast-iron lantern echo the room’s formality. Golden Lab is a Manchester-based community of recording and artist studios, so it makes sense that their releases would have a proper visual component. Marcia Bassett & Samara Lubelski “110 Livingston” ( Golden Lab) Enjoy the first selections of Visual Cover. It will just be an appreciation of some strong visual work and, on occasion, a look into the creators behind them and their practice as artists and designers. It won’t be a record review column, or a dissection of the relation between the image and song. Even in a thumbnail on your iPad or phone, the right image can burn itself into your brain.Įach month I’ll select eight to 10 covers, with the primary motivation being the aesthetic of the image. ![]() You no longer go through your date’s CD collection while waiting for them parents have no visual provocation from their kids’ record covers digital music is part of a larger entertainment and social stream.ĭespite the shift away from the physical object toward the stream/cloud, the aesthetic impulse is still there and is certainly important to the labels and the artists that make the music. “Even in a thumbnail on your iPad or phone, the right image can burn itself into your brain.”īut these days, the dissemination and reception of music have changed dramatically. It was a major score not just as a record, but also as an aesthetic trove. On the back, four shots of Psycho star Anthony Perkins stood in for the obligatory band head shots. A Certain Ratio’s All Night Party-designed by Saville-featured a repeated image of the late Lenny Bruce rendered through a Warhol prism. My personal aesthetic began to bloom around the time that Factory Records and Peter Saville took cover art and poster design to a whole new level. Sonny Clark’s Cool Struttin’ and Roxy’s Country Life were not only records I liked, but provocative and stylish wall art as well. When my editor broached the idea of doing a monthly column focusing on the visual aesthetic of cover art, it took me back to my childhood in Philadelphia, when I would save up my dollars and make the pilgrimage to 3rd Street Jazz to score a new Roxy Music or classic Blue Note record. ![]()
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