Artwork for Natalie Wildgoose and her new EP Come Into the Garden, alongside posters for her release shows at The Cardigan Arms in Leeds, and Servant Jazz Quarters in London.

A range of period typefaces are used throughout. For the EP artwork, Anglo-Saxon Caps is used for the titles and Seta Reta NF for the credits. The show posters use Schwarzkopf and P22 Arts and Crafts Hunter for headers, with a combination of Archive Garamond (bold italic), Madisonian Light, Skeleton Antique and News Gothic (medium, bold) for subheadings and body copy.

Billie Davis’s self-titled debut album from 1970 was released by Decca Records. The album is a mix of genres including pop rock, beat, mod, and soul music. Her name is set in caps from Koster

[More info on Discogs]

Pelo de Foca is an album that explores love and self-destruction from an eclectic perspective, leaving room for each listener to interpret the meaning of the songs based on their own experiences. Through symbolism and an esoteric use of color, we visually convey the essence of each track, transforming the visual aspect of the project into a ritual that celebrates and proclaims the visceral energy of rock.

[More info on Discogs]

See also the previous post about the visual identity for Ultraligera’s Pelo de Foca.

Weapons of Mass Destruction is the fifth studio album by American rapper Xzibit. It was released on December 14, 2004, through Open Bar Entertainment, Columbia Records and Sony Urban Music.

The Xzibit logo is by Mister Cartoon a.k.a. Mark Machado. The album name is set in eroded lowercase letters from Flyer Release (by House Industries). On the right of the cover, the stencil font is Phantom Stencil (by Mark A. Klein), with additional effects.

[More info on Discogs]

The song list is set in Flyer Release, combined with Alternate Gothic. The anti-piracy warning uses Bell Gothic Black.

The credits are set in ITC Franklin Gothic Condensed, combined with Flyer Release and Alternate Gothic.

Side note: this is one of my favorite albums by the artist, so many great songs, it made me document the fonts in use. “LAX” was featured in the soundtrack of the video game Need For Speed: Underground 2.
“Klack” was featured in the soundtrack of the video game Juiced 1.

Doe Records is a non-profit record label based in Portland, Oregon, which describes itself as a non-traditional platform for local musicians centered around female, queer, non-binary, and trans artists.

In 2024, they collaborated with Francis for their debut album Crush. Ricardo d'Avila, graphic designer and co-founder of Doe Records, designed a beautiful record and sleeve for it, prominently featuring the typeface Lofi Forest by Kilotype, embossed in large capital letters to striking effect.

In addition, the artwork features Charlottenburg for the album title and for the smaller information on the back.

The album was pressed and embossed by Record Industry.

Blood, Hair, and Eyeballs is the tenth studio album by American punk rock band Alkaline Trio. It was released on January 26, 2024 on Rise Records.

John Yates of Stealworks designed the album art. He used Century 725 BT Black for the X, with some modifications. Inside the glyph’s diagonal, the title is set in red caps from Marvin Visions. The band logo predates Yates’s involvement – he did several albums for Alkaline Trio – but he chose to redraw it, based on the source typeface, Lafayette. It has been used at least since the debut album from 1998. The supporting font used for the lyrics and other things within is Futura PT Medium (not shown here).

[More info on Discogs]

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

ActiveLabour is a sublabel of OLIGARCHY,

an independent publishing label led by Eric L. Chen with releases focused on themes of power, resistance, and care. Setting out to communicate alternative points of view, the label has evolved into a publisher of print, audio, and products through familiar and experimental formats.

The theme for ActiveLabour’s third season is “Work Anywhere”. Design by Eric L. Chen, making early use of Innersense’s upcoming Auger, paired with Neue Haas Grotesk and Fragment Mono. Images with Felix Luke, animation with Denzel Arthur.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Source: oligarchy.ca Eric L. Chen. License: All Rights Reserved.

Poems from the Dark is the debut LP by Berlin-based artist Zylva. It was released in June 2023 on Squama. The sleeve was designed by Maximilian Schachtner, using an illustration by Carina Madsius on side A of the record (not shown), and a portrait by Manuel Nieberle.

The typeface on the front cover is EK Modena Extended Bold (with the alternate S) used with a stamp effect. Text on the back is set in EK Modena Mono.

[More info on Discogs]

Album and single art for Sean Wolcott’s 70s inspired crime score, Violent Hand of the Sleeping City. Compacta is used as the primary display typeface, along with Microgramma supporting. Akzidenz Grotesk is used for body copy and Futura can be seen in the Clockwork Records logo.

[More info on Discogs]

Single covers for “God Help the Fuzz” and “With All That Is Left”

Cover design for Sean Wolcott and Craig Curran’s spaghetti western inspired library album, Il Mietitore cavalca verso ovest (The Reaper Rides West). Manicuore is used as the primary display type while Akzidenz Grotesk is used as secondary body type throughout. Futura can also be seen in the Clockwork logo and catalog number.

[More info on Discogs]

Single cover for “La vendetta dei quattro”, the first single released before the album.

Callus is an album by Gonjasufi (Sumach Ecks) released by Warp on August 19, 2016. It features Pearl Thompson, the former guitarist of The Cure.

The cover is based on a photo by Timothy Saccenti with a design by Hassan Rahim. The use of black and white colors with the crosses reminds of the rock culture imagery.

On the cover we can notice the texture of the printing. The cover is composed of two horizontal parts: the upper one with the title of the album in white capital letters in Druk Condensed, and the lower one with the strongly contrasted picture. The structure of the stems recalls the verticality of the crosses.

On the back of the cover, Microgramma is used for the name of the group and the tracklist.

[More info on Discogs]

Source: lannerchronicle.wordpress.com License: All Rights Reserved.

The typography for this EP uses Decima Mono, just like for the previous album Syro, which was likewise designed by The Designers Republic. On these minimalist covers the typeface stands out a lot. While Syro references the look of receipts, the negative monospaced text for this record resembles a computer terminal.

From Wikipedia:

Computer Controlled Acoustic Instruments pt2 is the ninth EP by the British electronic musician Richard D James. It was released under the pseudonym Aphex Twin on 23 January 2015 on Warp. It is meant as a companion piece to his fifth studio album, Drukqs (2001).

It received mixed reviews and placed in several international record charts, including the United States Billboard Dance/Electronic Albums chart, where it peaked at number one.

Source: www.amazon.fr License: All Rights Reserved.

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

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

The Wild, the Innocent & the E Street Shuffle is the second studio album by American rock singer-songwriter Bruce Springsteen. It was released on November 5, 1973 by Columbia Records. It has sold nearly 3 million copies, and was included in the 2020 version of Rolling Stone’s 500 Greatest Albums of All Time, ranked at number 345.

The cover was designed by Teresa Alfieri & John Berg, with photography by David Gahr. The typeface is Futura Light, used in all caps.

[More info on Discogs]

Cover of a Canadian pressing from 1975.

Back cover of a Canadian pressing from 1975. From Wikipedia:

The back photo for the album featured six members of Springsteen’s backing E Street Band standing in a doorway of an antique store on Sairs Ave in the West End section of Long Branch, New Jersey.

Two posters and an advertisement for a 1970 movie about Australian bushranger Ned Kelly.

The film production faced setback after setback: there were protests against the film location and against Mick Jagger as lead actor; Jagger broke up with his girlfriend and co-star Marianne Faithful, who subsequently took an overdose and had to be replaced; Jagger was accidentally hit by a gunshot, there was fire, illness, and more misfortune. Nonetheless, the movie was finished and released – and not received well:

As the ill-fated titular hero, Mick Jagger, the rock singer, with a beard that makes him appear more Amish than Australian, is, sadly, simply a dour renegade who rarely becomes the “wild colonial boy” of the legend. Only a few members of the large supporting cast, notably Clarissa Kaye, as his mother; Janne Wolmsley, as his girl, and Martyn Sanderson, as a villainous Irish constable, are momentarily meaningful. “Such is life, Mick Jagger flatly states before being hanged, an observation that can’t quite be applied to “Ned Kelly.” — A. H. Weiler, The New York Times

The movie poster typography uses a set of fonts with roots in wood (poster) type. Coincidentally or not, it looks like the unknown designer picked the same typeface combination for the big type as used for the album cover for Bob Dylan's 1964 album The Times They Are A-changin': “Mick Jagger” is set with tight-not-touching Gothic (Nesbitt), with diagonally cut terminals. The blocky type with its nearly-touching slabs used for the movie title is probably Antique. The smaller text is set in Clarendon.

An alternate poster shows the same typography and the same split screen / split personality image concept but this time it is executed as an illustration, with some extra guns and death.

Advertisement with the same lettering used for “Mick Jagger” and a better view of the rare sight that is Jagger with a beard; movie title set in Volta Bold, credits and blurb set in Univers.

The designer is uncredited, but it is likely Bob Cato who did other Dylan covers, or John Berg who was art director at Columbia at the time and who loved using Nesbitt’s Gothic. The very nice slab seems to be another wood type: Wells’ Antique, shown as Argosy in my 1981 catalog from Haber (who provided phototype versions of Morgan wood type, including Nesbitt’s Gothic, for much of the New York design scene). It’s not quite a match, though: it’s slightly lighter and its ‘G’ beard is square rather than tapered.

[More info on Discogs]

BIEM release. What a script! Only in France.