HARDHOUND

Time Released Sound

Author: Colin | Published: 19/2/12

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Time Released Sound

Artist 1-5: SONMI451; 6-12: Wil Bolton; 13-16: 5turns25
Title 1-5: A New Popular Star Atlas; 6-12: Quarry Bank; 13-16: Evolution of the Human Heart
Label Time Released Sound
Year 2011
Design Colin Herrick
Music ‘Classically infused and folk based ambient and electroacoustic’
Notes Every release on Time Released Sound is clearly a labour of love, full of detail and carefully considered extras. Each one is a limited edition. Check the Time Released Sound website for more examples.
Listen

SONMI451 – Alpha Centauri

Wil Bolton – Quarry Bank

5turns25 – Beneath The Noise

Go see: South London Black Music Archive

Author: Colin | Published: 12/2/12
Previous Optigram Next Time Released Sound

Combine this with a visit to the DJ Food exhibition and you’ll have a fine day out…

South London Black Music Archive

Peckham Space
Barby Asante
17 Jan – 24 March 2012

Opening Times:
Tue – Fri 11am – 5pm
Sat 11am – 4pm

Produced in partnership with Tate Modern’s Regeneration & Community Partnership team, Legacy Tunes is the result of the artist’s collaboration with young people from the Leaders of Tomorrow (LOT) mentoring programme in the months leading up to the launch of the exhibition. It features Asante’s own take on the BBC’s ‘inheritance tracks’ for which members of LOT were asked to contribute songs that inspire them. It’s an evocative soundscape which beautifully captures the power of music as a cultural form to bring people together.

Barby Asante worked with design team Abake on the record cover. Abake founded the magazine Sexymachinery, co-direct the clothing and record label called Kitsune and their clients include The Cardigans, Maison Martin Margiela, Peter Jensen, Bookworks, and the British Council.

For the vinyl they played on the concepts of generations, family trees and formal archival imagery to produce a really beautiful, covetable object which aims to evoke the collectability of records and add a nostalgic, tangible dimension to the exhibition.

Read the press release (pdf)

Optigram

Author: Colin | Published: 11/2/12
Previous Music recommendations by cover colour… Next Go see: South London Black Music Archive

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Optigram

Artist 1-4: Drive Me Home; 5-6: Harmonic 313; 7-9: Kode 9 & The SpaceApe; 10-12: Morgan Zarate; 13-14 Ikonika
Title 1-4: Fast Life; 5-6: Battlestar; 7-9: Other Man; 10-12: Hookid; 13-14 Sahara Michael
Label 1-4: Citinite; 5-6: Warp Records; 7-14: Hyperdub
Year 2009-11
Design Optigram (Manuel Sepulveda)
Music Electronic
Notes Dubstep as a genre was long in need of distinctive visuals; that particularly applied to Hyperdub, probably the music’s most feted label. The covers for Burial and the first Kode9/SpaceApe failed to impress. Tempa were great and Skull Disco were typically maverick, but as soon as Hyperdub’s 5 Years of… was released in 2009, the packaging and camouflage patterning seemingly disrupted by digital noise perfectly expressed the concerns of the music as well as a wider sense of unease. (Fittingly, I’ve tried on three separate occasions to photograph it and failed to achieve anything satisfactory each time.)

The person responsible was Manuel Sepulveda aka Optigram. Each subsequent design has struck me as consistent, distinctive and exploratory in its approach. Each design does what it needs to do elegantly and with a remarkable economy of means. It’s a long overdue pleasure to feature his work here on Hard Format. The work is clearly informed by the aforementioned camouflage and digital noise, Op Art (as acknowledged by his working alias), Italian Futurism and the most dystopian elements of J.G. Ballard and William Burroughs.

Sepulveda a remarkably modern designer, one that engages with and articulates the spirit of his time. He has the potential to be a digital Reid Miles for the new millenium. There’s often something subtly unsettling about the refusal of Sepulveda’s forms to resolve easily into recognisable patterns. At times they suggest a disruption of vision along the lines of Predator’s alien distortion field – indeed, perhaps they’re presentiments of shapes necessary to hide in extra-planetary ecosystems. Sepulveda also acknowledges the influence of David Pelham‘s designs for Ballard paperbacks, eighties science magazine Omni, Vorticism and Hindu art.

Also - Interview with Manuel Sepulveda
- F.C. Judd, Electronics Without Tears
Listen

Music recommendations by cover colour…

Author: Colin | Published: 8/2/12
Previous The times, they have changed… Next Optigram

“Shifting his web and graphic design talents to the music discovery space, ColorHits founder Matt Barrett has built a powerful discovery tool that provides the user a color search of album art for more than 2 million albums – with new titles added every week. Still in Beta, ColorHits is designed so users can preview tracks, download from iTunes and share on Facebook and Twitter.”

Hard to picture this being a successful recommendation engine, but it’s an interesting alternative to Last.fm or Spotify.

Read an interview about ColorHits on Miles Davis Online.

The times, they have changed…

Author: Colin | Published: 5/2/12
Previous Machine, Dear – Killing Something That’s Already Dead Next Music recommendations by cover colour…

Seen on BoingBoing.

Machine, Dear – Killing Something That’s Already Dead

Author: Colin | Published: 4/2/12
Previous DJ Food + Henry Flint exhition in London Next The times, they have changed…

Machine, Dear - Killing Something That's Already Dead

Machine, Dear - Killing Something That's Already Dead

Machine, Dear - Killing Something That's Already Dead

Machine, Dear - Killing Something That's Already Dead

Machine, Dear - Killing Something That's Already Dead

Machine, Dear - Killing Something That's Already Dead

Artist Machine, Dear
Title Killing Something That’s Already Dead
Label Licensed Under Creative Commons Attribution – NonCommercial 3.0 Unported License. Supported by Aarhus Kommune
Year 2012
Design Klaus Matthiesen, OddFischlein
Music Perhaps indie electronic?
Notes A very pleasing optical design guaranteed to induce mild giddiness as the card sleeve is withdrawn from the outer plastic sleeve. The white vinyl itself serves to dot the i and cross the t in one go.

Listen

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