A 1996 downtempo/ambient house album by group The Lord’s Garden, formed by Peter Hemsley from Sydney and Craig Sunderland, both previously members of Solstice.

All-caps Handel Gothic labels the group’s name, with all-lowercase Neue Helvetica lightly labeling the album title.

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Front cover of the double vinyl edition

You’ve Come a Long Way, Baby is the second album by English big beat musician Fatboy Slim, an alias of Norman Cook, released in October 1998 on Skint Records in the UK and Astralwerks in the US.

Four singles were released from the album, “The Rockafeller Skank”, “Gangster Tripping”, “Praise You”, and “Right Here, Right Now”, all of which peaked within the top ten on the UK Singles Chart.

From Wikipedia:

The cover art, conceived by Red Design, uses a photograph of an obese young man dressed in a T-shirt bearing the words “I’m #1 so why try harder” while holding a cigarette. The photograph was taken at the 1983 Fat People’s Festival in Danville, Virginia, and provided by the Rex Features photo library. Cook spent years attempting to identify the man on the cover, hoping to pay him, but as of 2025 had not been successful.

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Back cover of the double vinyl edition

Front cover of the compact disc edition

Back cover of the compact disc edition

Cover for the North American release by Astralwerks

Recreation of the cover by u/thirdofmarch on Reddit

A 1996 demo tape of tracks by Darren Seltmann and Robbie Chater under the name the Pan-amateurs. Darren and Robbie would soon become members of Australian plunderphonics/electronic group the Avalanches.

The cassette cover uses the Parisian font, along with an image of a Yamaha Electone EX-42 from the 1972 record Yamaha Superstar! by Koichi Oki.

Vol. 1, Electronic Moods from Budapest to Brazil

In June 1999, Belgian lounge label Life Enhancing Audio released a compilation of downtempo chillout tracks named Transatlantik Lounging (Electronic Moods from Budapest to Brazil), which then spawned three sequels by 2001.

Judging from the k whose diagonals meet the stem in a point and the closed 4, the title typeface is URW’s Nimbus Sans Black Condensed Italic. Linotype’s equivalent, Helvetica Inserat, is distinguished by an open 4. A light extended style of Eurostile serves for the label name and the text on the bottom of the covers.

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Vol. 2, Indigo Moods and Afro-Latin Grooves

Vol. 3, Exotic Vibes, Mystik Moods and Carribean Cool

Vol. 4, Broken Beats, Slo-Mo Grooves and Far-Away Moods

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Gemini is a 1999 album by Belgian electronic/downtempo artist Sven Van Hees.
Its cover, designed by the Re:peat studio (part of the Belgian record company N.E.W.S), uses the following: Clarendon Bold Expanded for the artist’s name and “Cosmic Lovegrooves”, Compacta Italic with an enlarged lowercase e and arrowheads added to the I’s for the title, and Eurostile Light Extended for the tracklist and the label name, Life Enhancing Audio.

[More info on Discogs]

The second, self-titled album by alternative rock band Bellwether from Minnesota was released in 2000 on Rustbelt Records. Bass player Phil Tippin took care of the cover design and used News Gothic for the front cover text.

The song names on the back use VTypewriter SmithUpright (1996), likewise in all lowercase letters. Susan Townsend’s grunged typewriter font is one of the many followers of Trixie that were made in the 1990s.

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X-Static ReMixology (spring 1995) combines the best of the original X-Static Goldmine 1 and XL1.

X-Static Goldmine is a series of CDs with samples and sounds to use in house/techno productions, by Erik Svahn of e-LAB (and now of Raw Cutz), Stockholm.

X-Static Goldmine 2 (1994)

X-Static Goldmine 3 (1995)

Overview of the then available and upcoming compilations from the booklet to X-Static ReMixology (spring 1995)

From Wikipedia:

“Ana Ng” (/ɛŋ/ ENG) is a song by alternative rock band They Might Be Giants. It was released as the lead single from the band's 1988 album Lincoln. Although the song was their first US chart appearance, hitting number 11 on the US Modern Rock chart, the single was never officially released in the US. It was only released for promotional purposes in the US, and it saw official releases in 1989 in the United Kingdom (as a maxi-single), Australia, and later, in 1991, in Europe.

From Wikipedia:

They Might Be Giants, sometimes called The Pink Album, is the debut studio album from Brooklyn-based band They Might Be Giants. It was released by Bar/None in 1986. The album generated two singles, “Don't Let's Start” and “(She Was A) Hotel Detective”. […]

The album’s cover art was illustrated by Rodney Alan Greenblat, who had no prior association with the band. It extends to the back cover of the album, and shows John Linnell and John Flansburgh riding a large blue dog. John Linnell commented that the illustration caused the record to be mistaken for a children's album. The art was pasted up by John Flansburgh.

The title on the front cover uses caps from Filmotype Metro. The text on the back cover is set in roman and italic styles from ITC Garamond.

[More info on Discogs]