Institute Benjamenta (1998) by Lech Jankowski.
Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Regular readers won’t be surprised to hear that I’ve had this one in mind for some time but it’s taken a while to put together. The main problem has been the Quay Brothers’ habit of using a variety of different names when they were working as designers; variations include “Stefen” rather than Stephen Quay, the Brothers Quai, Gebr. Quay, Jumeaux Quay, The Quays, Atelier Koninck (or Koninck Atelier), and so on. The catalogue compilers at Discogs do a good job of keeping up with the alternate names of groups or musical artists but stumble over those used by anyone else associated with an album’s production. Consequently, this collection of covers shouldn’t be taken as complete or final. Some of the discoveries would have been impossible without the checklist of Quays ephemera that accompanied the MoMA exhibition in 2012.
Blood, Sweat & Tears (1968) by Blood, Sweat & Tears.
This must be one of the earliest of the Quays’ commercial works. As with other covers from the first decade of their career, the credit is for illustration alone, graphic design came later.
Mozart: Violin Concerto No. 2 In D Major, Violin Concerto No. 5 In A Major (“Turkish”) (197?); Zurich Chamber Orchestra, Zino Francescatti, Edmond De Stoutz.
George Rochberg: String Quartet No. 3 (1973); The Concord String Quartet.
Fiction Tales (1981) by Modern Eon.
Continue reading “Quay Brothers record covers”
Or So It Seems (1983) by Duet Emmo. Design by The Brothers Quay.
• “Make things, no rules, but be quick.” Bruce Gilbert, musician in (among others) Wire, Dome and Duet Emmo is interviewed. Related: Daniel Miller, Mute label boss and another member of Duet Emmo is interviewed (and provides a mix) at The Quietus. For more electronica with nothing at all to do with Duet Emmo there’s this Matmos interview.
Design by Dick Smith.
“It’s psychedelic not because we were stoned before we wrote the songs, or stoned during composing them, but the experiences of searching for the transcendental world though altered states of consciousness were in the songs,” he says, which sounds suspiciously like another way of saying he was stoned before he wrote them, but perhaps it’s best not to quibble with the description of the method in the face of such impressive results…
Donovan revisits one of his finest works, Sunshine Superman.
• Yet more Guardian features: A Clockwork Orange: The droog rides again | Ira Cohen: psychedelic photography master | A life in writing: China Miéville | The stars of modern SF pick the best science fiction.
• There are many stars of the gaseous variety in Nick Risinger’s 5000-megapixel photograph of the Milky Way.
“It is quite true I have worshipped you with far more romance of feeling than a man should ever give to a friend. Somehow I have never loved a woman…. From the moment I met you, your personality had the most extraordinary influence over me…. I adored you madly, extravagantly, absurdly. I was jealous of everyone to whom you spoke. I wanted to have you all to myself. I was only happy when I was with you.”
Salon reviews the new unexpurgated edition of The Picture of Dorian Gray.
• Paul Gorman discovered the gay art origins of the notorious Cowboys T-shirt.
• The full complement of Saul Bass’s designs for Vertigo‘s print advertising.
• Photos of the recent Dodgem Logic event by Rosie Reed Gold.
• Peter Ashworth is still taking great photos.
• Jodorowsky’s Dune Finally Revealed?
• Sunshine Superman (1966) by Donovan | Or So It Seems (1983) by Duet Emmo.