What the sleeve notes never tell you
It’s been 16 months since the original post , which was meant to be a one-off feature; however I always felt that it’s been somehow incomplete. The constructive feedback I received, occasionally bordering on debate over a matter de facto subjective, convinced me to revisit the topic; paraphrasing Nick Hornby “a sneer at the bad choices, an understated but supportive raise of the eyebrow for the good ones”. So, instead of updating the list, I decided to compile a new one containing record artwork I had intentionally omitted for a variety of reasons, as well as couple of recent entries.
“… it would be true to say the labels would not be where they are without Scott’s invaluable vision, design and input” – Tony ‘Justice’ Bowes
Despite having a soft spot for bespoke artwork design and illustration, it has taken me an embarrassingly long time to adopt a decent site icon and logo for the blog and my social media accounts. After almost six years of blogging and some hopeless scribbling on photo editors, I eventually decided to add a touch of art and aesthetics; a logo that would reflect the blog’s vision and output. For that purpose, the graphic studio Metro Design has delivered brilliant brand-new icons and logo. A complete retouche of the site though is a project for another day. The rather incomprehensible head title is the result of a stream of consciousness, paraphrasing a song written by Tricky (original title ‘Brand New You’re Retro’, featuring on his ‘Pumpkin’ EP, released on Island Records’ offshoot 4th & Broadway, 1995), which in all honesty caught my attention due to Alex Reece’s remix.
Metro Design is the new venture of Scott London, the electronic music producer known as Metro. Continue reading
“… drawing a fine line between the sublime and the ordinary, the initial presentation criteria have been the aesthetic quality of the imagery, the nature of its production, the relationship to the music on the record and obviously my personal attachment …”
Drum & Bass Record Sleeves
Something completely different for the last post of 2016; instead of the music per se, the next installment of the blog’s ‘Count To Ten’ series is dedicated to artwork design, an essential aspect of the physical product. The size and tactile experience of the record sleeve is one of the reasons why vinyl records remain the most enjoyable way to listen to music. The recent vinyl resurgence has rekindled the art of the record layout. Whether it’s hand-made or mass-produced, meticulously arranged or spontaneously created, the cover artwork adds a literal dimension to the music that a digital thumbnail simply cannot replicate.
Tuesday morning, October 1993
He is staring anxiously at the classroom clock counting the nanoseconds. It’s almost 10 and in about an hour or so the boxes with the new releases at the record store downtown are bound to open. There is no way he can make it before 2, unless he skips the last hour at school. He already knows that’s exactly what he is going to do.
The guy behind the counter had promised him that the tunes he was searching for the last weeks would be included in those boxes. It was not the first time the guy made such a promise just to get rid of him, but it didn’t worth the risk. He had to be there in person; phone-calls were never effective. Everybody, who has been at a record store more than twice, can tell a story about a record in a shelf already reserved for a radio producer, a dj or a mate of the store owner.
His impatience was intensified by the fact that every Tuesday morning all the big dogs of the scene would be there. He was a bit intimidated by them and the fact that they always had priority over him to listen to the tunes in the private booth was a bit frustrating. He could not spend as much as they did, as his only resource was his weekly allowance, so their priority status, however irritating it was, actually made sense.
He enters the record store which is already packed and many familiar faces are already searching the shelves and discussing with the guys behind the counter. There is a queue on the decks where one can hear a preview of a record before he can buy it. He heads directly to the jungle/breakbeat section. He knows that the possibility to find on the shelves the records he was looking for is much greater than to find them behind the counter. He’s right! Two records of the list are already there along with a couple of promos he should definitely check out. He picks them all up and visits the other sections waiting for a slot in the private booth. Continue reading