Well, it’s been a while since I’ve covered this, but being an area of certain interest to myself I figured the time had come around to give it another shot. The main reason I stopped doing it a few years back is because i was having such a hard and frustrating time coming up with with a substantial enough list to make it viable. Design for music really seems to be in the doldrums in Australia, even as I noticed a significant uptick in quality the quality of overseas cover design in 2017. Maybe we just need a bit of time to catch up. My choices are based on the sole criteria of ‘I wish I had done that’, so judge the results as you will. There are some fantastic contributions to the form below, mostly coming from the fringes of what you would regard as mainstream releases. I’ve got to say it was a real slog coming up with what I regarded as worthy inclusions, but maybe I’m just not thorough enough or I’m getting too old to know what ‘the kids are down with these day’. I’ve always held that if the musical artist cares enough about their records, then more often than not, they will package it in a design that shows the care they’ve put into it. Maybe in this age of Spotify and Apple music it’s just not a consideration anymore. Most of these albums are also available as vinyl releases, they certainly deserve to be presented in that format. I haven’t tried to credit the designers /artists/photographers behind the covers this year, is was holding me back from actually putting this up, digging for credits for every piece, but please feel free to get in contact if you know of any and i’ll add them accordingly, in fact, If you are one of the creators of these pieces I would love to hear from regardless. As I’ve said above, these are my favourites, if you have any of your own please feel free to leave a comment, I’d certainly love to see any crackers that I might have missed.
A great, beautifully simple design by Traianos Pakioufakis (check out some more great album design on the site), for Jen Cloher’s self-title album. It’s really comes down to the sublime candid photograph by Luke McLean Stephenson (the black edge of the pic poking through is a nice touch). The restraint in the design is what really works for this cover, it helps that it’s a cracking batch of sons to listen to as well!
King Gizzard & The Lizard Wizard released 5(!) full album releases in 2017, the above is just one example, they are all great designs, awesomely produced by the great Jason Galea. Nice to see a current band so involved with producing good music and great visuals.
This is an album that has sort of snuck under the radar, I haven’t really heard much about it at all for such a high-profile Australian act. That said, I like the cover, and Cut Copy seldom disappoint with their artwork – sort of a through-back to the 90s, it has that late Not Only Black & White magazine aesthetic happening (design by vocalist Dan Whitford) – plus the imagery forms a kind of visual haiku if you look at it long enough.
A great image can make all the difference as this cover demonstrates. It’s an engaging graphic used here (not sure if it’s a photo or some photoshop trickery) by The Kite String Tangle – I like the little logo in the bottom corner there too but I’m not sure whether it distracts too much from the overall visual. Great colour range too.
Country music isn’t renowned for it’s engaging album cover imagery, but Fanny Lunsden’s cover here for her album Real Class Act is a definite exception in that regard. Even a seemingly simple photograph can be used to stunning effect when handled right. I love the choice of typeface in the top left corner as well, I only wish the artist’s name had been similarly considered, as it kind of spoils the overall effect tucked there in the bottom right-hand corner.
Methyl Ethel have been getting plenty of airplay and some love from international music mags like NME. As you would expect from an outfit described as an ‘Art Rock Band’ the cover comes with the requisite ‘first year of art school’ painted nude, aesthetic -(by Holly Fewson) which is actually meant as a compliment, there’s a really nice freshness to it, in contrast to the choice of that black background which gives the cover a bold standout quality. I’m sure this looks stunning on the full 12 inch album, brave choice to leave the band name and title off only their sophomore release.
There’s alway room for a bit of nostalgia when it’s handles just right. The name ‘The Cherry Dolls’ lends itself to such a treatment – and they’ve certainly gone with it. There’s kind of that early 80s indie record artwork thing going on there too with the hand script at the top and the colour overlay. It’s in ‘full stereo’ too! Which is always good to know.
There’s nothing particularly ground-breaking about Holly Throsby’s After a Time cover, but in a year worth of covers that couldn’t be bothered, I thought it would be nice to finish up on something that shows just a little bit of thought can produce something quite sublime and appropriate – needless to say the typography is well considered also.