The visual identity for 070 Shake’s sophomore album You Can’t Kill Me from 2022 was developed as a cross-media campaign including album artwork, logotype, photography, packaging, merchandise, tour posters, and promotional copy. Eddie Mandell designed the project in collaboration with 070 Shake and The C.O.R.E.

The typographic system pairs Futura (Paul Renner) with Tempos Mono (Samara Keller) for supporting and informational text and Anton (Vernon Adams) as the main title font. The blackletter face is Anglican Text (Dieter Steffmann).

The album cover features a Nicola Samorì painting, which is used alongside the typography. The cover was listed at #15 in Our Culture’s “50 Best Album Covers of 2022”.

[More info on Discogs]

Last time I posted a record cover by Sly & Robbie, it was to bid farewell to Robbie Shakespeare. Now Sly Dunbar is sadly gone as well. The legendary Jamaican drummer died 26 January 2026 at the age of 73. The Guardian has an obituary by Ben Beaumont-Thomas.

Shown here is the CD cover and a vinyl record label for Sly and Robbie’s Taxi Sound. This compilation album was released in 2005 on Marcus Weedon’s Auralux Records, marking the thirtieth anniversary of Sly & Robbie’s own label, Taxi Records. The Art Deco caps with stripe pattern are based on A.M. Cassandre’s Bifur, with a few changes: compared to the 1928 original, S got a wider base and Y a second arm, the middle part of B was made longer, X has solid diagonals on the right as well, and U was widened.

[More info on Discogs]

12″ vinyl record label

Krok (Крок) is the fourth album by the Belarusian band SOYUZ (СОЮЗ), released by Mr Bongo. The title means “step” in Belarusian and reflects the band’s recent transitions, including the relocation to Warsaw following political unrest in Belarus and the war in Ukraine. For the first time, composer and arranger Alex Chumak wrote the lyrics in his native Belarusian.

Recorded between Brazil and Europe, the album blends Eastern European roots with jazz, folk, and global influences. The artwork and related materials were designed by Alex Chumak himself using KTF Concrete and KTF Prima.

[More info and videos on Bandcamp, Mr Bongo and Discogs]

Supraphon was one of Czechoslovakia’s state-owned record labels. The main logo – designed by Václav Zajíček and chosen in a competition in 1949 – features the Bohemian lion from the Czechoslovak coat of arms holding a lyra, underneath the name in bold serif letters arranged in an arc. It was recently redesigned by Jakub Kaše from Boomerang Communication in collaboration with Tomáš Brousil.

This is not about Zajíček’s logo, though. For the labels of their 45 RPM single records – or krátký záznam in Czech – Supraphon used an alternative logo, featuring constructivist slab serif caps with an inline. While Zajíček’s wordmark is hand-lettered, this uncredited variant is based on a typeface: it’s Faro, designed by Henry R. Möller and first cast by the Schriftguss foundry in Dresden in 1938.

“Krátký záznam” (“short record”) is added in caps from Gill Sans. The credits on many of the labels are set in Super-Grotesk. Like Faro, Arno Drescher’s Futura follower originated at Schriftguss in the 1930s.

If the dates on Discogs can be trusted, the labels featuring Faro were introduced in 1954 and phased out again around the late 1970s. They were used for all styles of music, from Beethoven to Chuck Berry to local star singer Karel Gott.

Close-up of Elektra’s 1966 logo, taken from the 1980 label design

William S. Harvey designed Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed by Milton Glaser, type designer and master warlock of the graphic arts) in 1983. Reworked variations of this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009.

The logo consists of an uppercase E (based on outlined Bingo, a decorative stencil designed by John Albert Cavanagh for his 1946 book Lettering and adopted by Photo-Lettering) directly above the word “elektra” (set in Phanitalian, a heavily flared decorative sans originating in the catalog of Vanderburgh Wells & Company and offered in the 1960s by Headliners in its Morgan Press collection).

Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.

Catalog number and disc side indicator, “STEREO,” and album title set in Railroad Gothic (ATF; 1906) [edit: or rather Gothic No. 13 (Linotype), see comments]. Track list and credits set in Vogue (bold; Intertype; 1930-1946). Band logo is a custom-made sort.

Label for Clear Light’s 1967 self-titled album (circa 1970–1973 reissue). This label design, which features a butterfly carrying the E by its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 on Josh White's The Best of… album.

Band name set in Franklin Gothic (ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set in Erbar-Grotesk Condensed (Ludwig & Mayer; 1929). Track list and credits set in Spartan (ATF/Linotype; 1939), a copy of Futura, here with its distinctive two-story a. Address info is set in Trade Gothic Extended (regular; Linotype; 1959).

Label for Gamma’s 1979 self-titled Gamma 1 album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 on Nino Rota’s soundtrack album for the film Hurricane.

Disc side indicator, catalog number, “STEREO” and band/album name set in Futura (bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set in ITC Avant Garde Gothic (regular; ITC; 1970).

The cover art for Matthieu Benjamin’s Sex Drive EP (TV003) was directed and designed by Dennis Moya Razafimandimby. It was released in July 2025 on the Berlin-based techno label Temporal Variation and features artists Daniela Party and Magna Pia.

The title design is set in SwissPosters and the back cover texts in Baikal, both by Newglyph.

[More info on Discogs]

BM Alaric was used for the typography for Echo, a solo EP by BTS member Jin. The typeface was slightly modified for the project’s art direction.

[More info on Discogs]

After years of touring and releasing singles, emerging house DJ and producer sunflwr was preparing to release his debut album head it in a dream at the top of 2025. He approached Wish You Well, a multidisciplinary creative studio, to assist with developing design direction for the vinyl LP he wanted to release as part of the rollout. In collaboration with photographer Zachary Ruddell, who spearheaded the album’s front cover, Creative Director Jaye Thompson drew inspiration from sunflwr’s signature blend of dreamy indie dance and atmospheric house music, to translate sound into form. For the LP’s backside, he developed a uniquely hypnotic typographical treatment, built around chromatic distortion and circular rhythm, echoing the entrancing qualities of the album’s production. The result is a design that feels like a visual vortex, inviting listeners into sunflwr’s vibrant sonic world.

Beyond the LP sleeve, the design direction expanded into a broader visual ecosystem. Wish You Well equipped sunflwr with animated assets and motion graphics derived from the core typography and creative direction, allowing the identity to live across announcements, social content, and rollout moments. This approach ensured the album wasn’t just released, but revealed through multiple touchpoints for fans to engage with the project beyond the music alone.

Following the release on Unbelievably Spectacular, the album charted on NACC’s year-end Electronic and Chill lists and has since generated approximately five million streams across major DSPs. While vinyl sales data is limited, multiple physical drops sold through, signaling a strong demand and resonance with fans. Beyond performance metrics, the project established a cohesive visual identity at debut, helping position sunflwr as a distinctive voice within the electronic and chill music space.

For Wish You Well, the project exemplifies the studio’s belief in building worlds, not just assets. Where music, design, and craft work together to create lasting cultural presence.

[More info on Discogs]

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.

[More info on Discogs]

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

Source: www.ebay.it Photo: 3roby3 (edited). License: All Rights Reserved.

Clover was an Italian record label active in the late 1970s and early 1980s. For several of their maxi singles, they used a generic “12″ Special Disco” sleeve. The exclusively typographic design features Bronisław Zelek’s New Zelek (Mecanorma, 1974) and Colin Brignall’s Harlow (Letraset, 1977). The Clover logo seen on the label is in James H. Moore’s Moore Liberty (VGC, 1973).

The record included in the bag shown above is “Nowhere to Hide” / “Magic in the Groove” by French disco act Voyage. Label text is set in Simoncini’s Permanent.

The same design was also used by Dutch label CNR, starting in 1978. The only difference is the text “45 toeren” (Dutch for “45 rpm”). Their logo is in Microgramma. CNR also had color variants of the sleeve design.

[More info on Discogs]

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

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

Source: www.dba.dk License: All Rights Reserved.

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

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

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

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

Artwork for German rapper Döll’s 2025 album Weg vom Weg. Design by Dominik Keller using a portrait by Robert Winter.

[More info on Discogs]

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

Ambar Lucid’s new EP is supported by a clear and cohesive communication strategy that extends beyond the music itself. The release is accompanied by a set of physical and visual products – vinyl, posters, and apparel – designed to strengthen the album’s identity and visibility. The typeface Rosalie, by My-Lan Thuong and available at Sharp Type, is used on all the supports. For the singer’s name, the capital I was replaced by a lowercase i and a star was used for the dot. The typeface has a blurry and shinning effect for the song titles on the videos.

The vinyl record design is composed of four panels; with the front cover showing the main photo artwork that’s also used on the T-shirt. The back cover has lettering with the title of the EP, El Jardín de Lágrimas, and finally the inside contains the lyrics and a photo of the artist as an angel.

Together, these items create a unified promotional ecosystem: digital platforms introduce the music, while physical products reinforce the branding and extend the EP’s presence into the fan community. The visual identity of El Jardín de Lágrimas is not officially credited publicly, at least in the usual metadata and merch sources.

[More info on Discogs]

The poster for the release party additionally uses what appears to be a blurred version of Arial.

Album cover designed by Brest Brest Brest / Rémy Poncet with the Latin part of the Japanese font MS Mincho for the acoustic tribute album to Jimi Hendrix’ “May This Be Love” by French guitarist Thomas Naïm, released in 2025.

[More info on Discogs]

Record cover for AcidSitter’s 2025 album Escape from Egoland designed by Jacek Rudzki featuring an early use of Dioda for the title, alongside with Druk Wide, Neue Helvetica and Times New Roman.

AcidSitter is a Polish/Japanese psych rock band. Debuted in 2023 with the album Make Acid Great Again on Interstellar Smoke Records, they are exploring a wide range of psychedelia with rock ’n’ roll passion and punk energy.

[More info on Discogs]

The 1976 release of The Modern Lovers, compiled from recordings made earlier in the decade, for an aborted LP for Warner Bros and other sources. The sleeve is a triumph of minimal design, adapting an aerodynamic heart logo that the band used on an early business card, rendering it in the stark, precise form of a neon sign glimpsed on a dark night.

Filmotype Lucky is effortlessly evokes this mid-century aesthetic. Ebony was enjoying a renaissance at the time (see also Blondie’s 1976 debut) – the emerging punk movement favouring clean, strong letterforms over the ornamentation of psychedelia and after. Further examples include Franklin Gothic on Ramones and Gill Sans Extra Bold on the “Neat Neat Neat” single sleeve, both likewise from 1976. (Jamie Reid’s “ransom note” style which would become a cliche of punk design developed independently).

The neon motif is continued in the use of Kaufmann, with its continuous line representing neon tubing, for the LP credits, supported by Gill Sans. The band logo that appears on the labels as well as on the flyer reproduced on the back in in all-lowercase City Bold.

Jim Blodgett is credited with “LP co-ordination”, which may or may not include the sleeve design.

[More info on Discogs]

Back cover. The reproduced flyer for a gig at Gloucester High Auditorium additionally features Futura Black.

Album artwork for the Sydney-based ambient/experimental musician Winter Drones.

We wanted to contrast an album that was quite reflective and topically heavy with typography and design that was a little more playful. I enjoyed using this typeface, playing around with it a little to find a nice balance.

Hearing Things is available now via Bandcamp.

[More info on Discogs]

Product May Contain trio presents their long-awaited debut album Playgrounds – a release bursting with creativity, blending jazz, folk, electronic, ambient, and rock influences. Using an unconventional setup of vibraphone, double bass, and percussion, the band creates rich, imaginative arrangements. The record captures a journey of growth, self-discovery, and the pure joy of playing together – a manifesto of youthful curiosity and artistic freedom, accompanied typographically by Tor grotesk Mix.

Band photography by Mateusz Piechuta; graphic design by Jacek Rudzki of Znajomy Grafik.

[More info on Discogs]

Craft paper cover version

I WAY TO ÄL is Äl Jawala’s anniversary album, presenting the essence of 22 years of musical wanderlust.

“The wild mixture of styles from the Freiburg-based band, which includes Balkan beats, African, Arabic, jazz and funk, is bursting with vitality.” — Stereo

[More info on Discogs]

CD digifile white carton inside out

CD digifile white carton inside out

Double vinyl cover white carton

Double vinyl cover white carton

Double vinyl cover white carton

Double vinyl cover white carton

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]