35007 (Loose in beghilos) is a band from Eindhoven, the Netherlands. From Bandcamp:

35007’s first full length record as an instrumental group, Liquid, came to be considered as their masterpiece by many. Lengthy instrumental and atmospheric jams sprawl across the record’s four songs, bringing the listener into the band’s spacey realm.

The visuals are by Luk Sponselee. The typeface is China, a typeface originally released in 1975 for VGC’s Photo Typositor. In 2003, Mark Simonson redesigned and extended it as Changeling, which he revised in 2008 as Changeling Neo.

[More info on Discogs]

Kuturar: Live at the Mammoth Museum consists of a recording of a performance by Yakutsk-based stoner rock band Kuturar in the P.A. Lazarev Mammoth Museum, interspersed with videos about the museum collection.

The typography concept is grounded in the idea of weight – both literal and symbolic. The music of Kuturar, a Sakha (Yakut) metal band known for blending ancestral themes with experimental heaviness, embodies raw mass and density. This visual identity translates that sonic gravity into typographic form.

The design employs Alte Haas Grotesk and Apple Garamond Light, creating a tension between a solid, utilitarian grotesque and a refined serif. The pairing reflects a dialogue between the primal and the cerebral, echoing Kuturar’s fusion of ancient echoes and modern distortion. Wreckage Grotesque is mixed in for its tactile, fibrous quality reminiscent of mammoth fur.

In the final credits sequence, typography becomes the gravitational anchor of the composition, organized around a photograph of mammoth bones – a visual counterpart to the band’s thematic core. The same sense of heaviness is mirrored in the video thumbnail, where the shadow of the lettering physically “presses” on the typography, reinforcing the concept of weight and permanence.

The lettering was generated using AI tools Midjourney and Firefly, merging technological precision with organic texture to create a hybrid typographic expression – one that feels both ancient and futuristic.

Eorþe (Earth) is Skraeckoedlan’s third studio album, released in 2019. Skraeckoedlan (meaning horror lizard, although the Swedish spelling would be skräcködlan) play heavy stoner rock.

The front cover used Dubba Dubba NF for the band logo with a shade made from the same font size but with slightly less letter spacing. The artwork and design are by Johan Leion who also handled previous covers for the band.

For more information, see the master release on Discogs, the release group on MusicBrainz, or the Bandcamp album page.

Ummon is the second studio album by French rock band Slift released in February 2020 through Vicious Circle Records (France) and Stolen Body Records (UK).

Art Nouveau Bistro from P22 is used for all the text on the album cover, back cover, cassette, compact disc, and poster. It is also used on an illustration where a spherical shape appears on the lyrics of one of the songs. This illustration can be seen on the vinyl and on a poster.

The layout is by Guthio, with illustrations by Caza (Philippe Cazaumayou). Pierre Ferrero is credited for the illustration of the “sphere” mentioned above. This shape also appears on previous singles and albums from Slift where he is credited for the illustration.

[More info on Discogs]

Double vinyl gatefold

Colored vinyl record

CD digipak and poster

CD digipak and poster

Compact disc

Compact cassette

Compact cassette

Tour poster

Cover photography by Alex Obleas

A rare use of Aki Lines in the digital era, for In Search Of … The third studio album by Californian stoner rock band Fu Manchu was released in 1996 on Mammoth Records. The title is in a wide techno sans in the vein of China. It’s probably a font, but I don’t recognize it.

[More info on Discogs]

A rare sighting of Cenotaph on the cover for the 1970 self-titled album from psychedelic hard rock band, Josefus. The large lettering on the back looks like a hand-rendered hybrid of Papirtis Pink Mouse and/or Churchward Design.

[More info at Discogs]

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.

A bichromatic treatment of Profil on the cover of Population II. Released in 1970, Randy Holden’s album is considered to be one of the earliest examples of doom metal.

[More info on Discogs]

In June 2008 Underware asked Orange Sunshine to record a 7 inch, inspired by the typeface Fakir. For the sleeve, designers and rockers were invited to propose a design. Out of 80 entries, an international jury selected Supergabi’s design, as the official Fakir-Rock-sleeve-winner.

The sleeve was risograph printed at Extrapool, and folded to sleeve format.
Blue vinyl, no label. Edition limited to 300 plus a special edition of 25 (numbered & signed by all band members).

Gigantoid is the 11th album by the southern California stoner rock band Fu Manchu. It was released on April 29, 2014 on At The Dojo Records. [Wikipedia]

Layout and logo by Peder Bergstrand, collage by Kieron Cropper. Motter Ombra here appears with contour and some modifications: M got a top right corner, A is an enlarged a, and the H is an entirely custom creation. For the album title and the track listing, ITC Avant Garde Gothic is used with its hallmark alternates and discretionary uppercase ligatures.

Ad from the March 2 (my birthday!), 1968, issue of Billboard magazine promoting the first album from legendary proto-metal band Blue Cheer. Found at Billboarding Party.

[More info on Discogs]

[More info on Discogs]