Released in 1963, Thelonious Monk's first album for Columbia Records features all-caps Jessen-Schrift for the artist's name and album title and Palatino for the tracklist. On the back cover, liner notes and tracklist are written in Optima.

While the album art designer is unknown, the photo used was taken by Columbia photographer Don Hunstein.

[More info on Discogs]

Album art for Crumbling, featuring wavy, outlined, slightly-compressed AG Superblack Gothic.

Crumbling is the second album by independent Korean musician Mid-Air Thief (공중도둑). Released in 2018, it won Best Dance & Electronic album at the 2019 Korean Music Awards and gained a minor cult following outside of Korea through online forums such as Rate Your Music. From the webpage for its 2019 physical release by Topshelf Records:

Although sung almost entirely in Korean, Mid-Air Thief's cult-acclaimed album Crumbling exhibits a distinct universality, merging disparate sounds and styles into a cohesive, electronic-infused folk amalgam that tactfully blurs the lines between organic and synthetic. Listeners are led through enrapturing passages of swirling melodies underscored with eloquent plucks, strums, and bursts of bubbly glitches. Individual phrases drift into one another as if in a dream, cohered by guest vocalist Summer Soul's entrancing hooks and vocal soundscapes. Crumbling is a compelling accomplishment of both composition and production, bending as it does to its unique contours of consonance and dissonance, always resolving to a place of calm and beauty.

The album’s front cover, designed by the musician's cousin, features a grainy photo of a man fishing in the distance under a slate-blue sky. Outlined, wavy, and just a bit squished, AG Typography Institute's Superblack Gothic spells out the name of the artist and the title of the album in Hangul. Its back cover features the song titles set in the same typeface, with personnel and a short thank-you message in DX경필명조 Bold. On media related to the Topshelf vinyl release, English text is set in the label’s signature typeface, Base Mono Wide from Emigre.

[More info on Discogs]

Back cover of Crumbling, using warped AG Superblack Gothic (track listing) and DX Gyeongpil Myeongjo (other text).

These turn-of-the century catalogs from a publisher of Yiddish sheet music take a maximalist approach to Victorian-era typography. There are 12 typefaces on the page by my count, some of them only used for one or two lines of text.

The Hebrew Publishing Company was founded by Joseph Werbelowsky in 1900, and published Jewish books, religious materials, and sheet music, becoming one of the most successful Jewish publishers in New York of the early 20th century. At the time, “Hebrew” was the preferred term for anything Jewish, and the Hebrew Publishing Company published materials in Yiddish and English as well as Hebrew. Much of the Yiddish in America then was printed in a very Germanized orthography — especially egregious here are the umlauts in “König” and “Schöne” (standard kinig/kenig and sheyne). This iteration of the catalog is taken from the back of their Potpourri of selected Hebrew melodies, a medley of 12 dance melodies and Hasidic nigunim arranged for piano.

Detail ft. Bradley, Quaint, and Ronaldson.

Detail ft. Facade (“Min Hameizar”) and De Vinne (“Homon der Zweiter”).

Detail ft. French Clarendon (“Kol Nidre”), Jenson Old Style (“arranged by”), and Fullface Italic (“Voice and Piano”).

The North American album art for Light as a Feather uses Wexford in its Bold and Medium weights.

A jazz fusion album by legendary keyboardist Chick Corea and his band Return to Forever, particularly notable for its star final track, "Spain". The album art uses two funky weights of Wexford on the US release, and hairline Avant Garde internationally.

More info about the album on Discogs.

The artwork for the international release uses centered ITC Avant Garde Gothic in its Extra-Light weight, making use of its alternates for A and e.

I’m In Your Mind Fuzz (2014) album artwork. Album title set in Checkmate, name of band based on the same typeface.

About King Gizzard and the Lizard Wizard, from Gregory Heaney, AllMusic.com:

King Gizzard & the Lizard Wizard's sense of unfettered sonic exploration makes it easy to mistake them for a long-forgotten relic of the psych explosion of the '60s. With a far-out sound that, at times, feels barely held together, King Gizzard evoke the eclectic rock experimentation of Frank Zappa's early work with the Mothers of Invention, the anything-goes feeling of the Flaming Lips, and the demented glee of a random obscure '60s group plucked from a Pebbles compilation as they follow their musical flights of fancy wherever they might lead. King Gizzard's prolific nature led them to release albums at a frenetic pace, and their intense desire to seek out new sounds and follow new paths -- from expansive jazz-rock (2015's Quarters) to semi-acoustic ballads (the same year's Paper Mâché Dream Balloon), and from sci-fi prog (2017's Murder of the Universe) to trippy garage rock (2014's I'm in Your Mind Fuzz) -- meant that every one of their multitude of releases sounded different from the last, and each one was worth checking out. Some of their albums, especially Nonagon Infinity from 2016, stand shoulder to shoulder with the best psychedelic rock ever made.

Their album art, merchandise, music videos, and other promotional material are created by Melbourne-based visual mastermind Jason Galea. Galea makes extensive use of various Victorian, Art Nouveau, and 1960s/70s-era typefaces alongside bubbly hand lettering to create a unique visual identity for each album.

Nonagon Infinity (2016) album artwork. Lettering based on Checkmate.

Flying Microtonal Banana (2017) album cover. Name of band set in Davida (with alternate A); unknown whether title of album is type or custom lettering. All other text set in Times New Roman Bold.

“Han-Tyumi and the Murder of the Universe” music video, from Murder of the Universe (2017). Typeset in Roberta.

“The Lord of Lightning vs. Balrog” music video, from Murder of the Universe (2017). Typeset in Roberta.

“Trapdoor” single artwork, from Paper Mâché Dream Balloon (2015). Typeset in DeVinne Ornamental.

Paper Mâché Dream Balloon (2015)​​​​​​​ album artwork. Title of album and tracklist set in Robur. The band name appears to be hand-lettered in a style similar to West Bubble Gum or Churchward Marianna.

“Trapdoor” music video, from Paper Mâché Dream Balloon (2015). Typeset in Robur.

“How to Gut a Fishie” promotional video for Fishing for Fishies (2019). Typeset in Robur.

“Planet B” music video, from Infest the Rats’ Nest (2019). Typeset in Helvetica Black.

“Self-Immolate” music video, from Infest the Rats’ Nest (2019). Typeset in Helvetica Black.

“Organ Farmer” music video, from Infest the Rats’ Nest (2019). Typeset in Helvetica Black.

Front cover of the album Since I Left You, by the Avalanches.

This acclaimed psychedelic, sample-heavy dance record from early 2000 uses for its album art the bold weight of a 1970s-era Art Nouveau revivalist sans called Tasman, an overlooked specimen from the Lettergraphics and Solotype catalogs. The main artwork is clipped from Fred Dana Marsh’s Sinking of the U.S.S. President Lincoln (1920).

More about this album on Discogs.

Back cover of the album.