Bon Iver - Bon Iver (2011)

An illustrated theme for the self-titled album from Bon Iver, released on 4AD. The album is available as CD and LP, both with gatefold cover. The design is from Daniel Murphy, and the paintings from Gregory Euclide.

Junior Boys - It's All True (2011)

Avoiding any cheesy reference to the famous docu-fiction of Orson Welles the title could have suggested, the It's All True album of Junior Boys pays tribute in this cover to the city of Shanghai were the duo composed the songs : the image is a close-up of the British pavillon at the Expo in Shanghai. The cleverly spaced typography contributes to the zen atmosphere of the ensemble. The artwork is from Errol F. Richardson.

David Lynch - Crazy Clown Time (2011)

The Crazy Clown Time album from David Lynch was released in 2011 on Play It Again Sam. While the general art direction is from the master himself, it comes with a sleeve design from Vaughan Oliver and Chris Bigg, just like Lynch's previous album.

Debutová eponymní deska Laibach (1985):

Pterodactyl - Spills Out (2011)

A great artwork on Jagjaguwar Records, this time for the album of Pterodactyl, an brooklyn-based indie noisy punk band. For the cover art the band re-tapped the designer for their 2010 vinyl-only EP, Arnold's Park: a brilliant young artist called Otecki, from the small city of Wroclaw, Poland.

2562 - Fever (2011)

A refreshing sleeve, as much as a nice concept. The idea behind the music was that 2562 used sounds, extracts and samples from his 70' and 80' Disco collection, treat them and combine them in order to forge an hommage to the original 4x4 stylistic elements, but twisting them through the Dubstep, Post Garage the Techno musical techniques of our time. Logically, the artwork expresses his fascination for the era, and shows him as the boy he was back then. The picture is credited to Hans Huismans, presumably his father.
The treatment of the image has the delicate color balance of an old picture, and subtlely evocates nostalgia, without the excess of the Instagram fashion.

Gonjasufi - A Sufi and a Killer (2010)

A Sufi and a Killer was realesed in March, 2010 with its intensely graphic psychedelia, which was the work of Michael Raymond Russel, aka MRR. Avoiding the easy paths of the indian inspiration behind Sumac Valentine's music, and giving such an austere yet rewarding visual experience was a coup de maitre, and MRR created here a truly captivating object that do what the best sleeves has to : being a companion for the music, that inspires the listener, and not a mere illustration of the idea or concept of the piece.

NOFX - Heavy Petting Zoo (1996)

The cover art for Heavy Petting Zoo, by illustrator Mark deSalvo, depicts a man sexually touching a sheep. The LP version was even more graphic, showing the same man and sheep, except in Position 69. The title itself is a play on words, with the phrases heavy petting and petting zoo combined to suggest taboo human-to-animal interactions. The alternate LP title, Eating Lamb, suggests both regular eating and the slang use that means performing oral sex, and the cover art shows a human "eating [a] lamb" in the latter sense.

Editors - An End Has a Start (2007)

An End Has a Start is the second album by British indie rock band Editors. The album was certified Platinum in the UK on the same day it was released. Idris Khan – Images, Cover Art.

Grinderman - Grinderman 2 (2010)

Grinderman 2 is the second and final studio album by alternative rock band Grinderman, a side project of Nick Cave and the Bad Seeds, released on Mute Records in the United Kingdom and ANTI- in the United States. Warren Ellis described the album as "like stoner rock meets Sly Stone via Amon Düül", "very diverse", and "psychedelic." Cover photography by Polly Borland.

Toro Y Moi - Underneath The Pine (2011)

Chaz Bundick: This girl who was interviewing me at Fun Fun Fun Fest in Texas last year gave me a pomelo for my birthday-- it's like this huge grapefruit that's the size of your head. I was like, "What is that?" I'd never seen one before. So, back at my hotel, I started playing around with it in my mouth and I took a picture in the bathroom mirror. I thought the fruit had a really cool texture, and it pretty much resembles female parts; you don't think of a pomelo as a feminine fruit until you peel apart the wedges. I liked that aspect because I had never really shown the almost-perverted side of me. I'm a big fan of the artist Parra, and the way he draws naked women is really cool to see. And I knew that I wanted a 1970s-looking record cover, something psychedelic and surreal. I was talking to a couple of artists to see if they could draw something for me but I ended up just messing with that photo in Photoshop until it looked like a drawing. So when I found that photo I immediately showed it to my label and [Carpark Records founder] Todd [Hyman]'s wife said that was gross. [laughs] I was like, "OK, that's a good sign."

Lou Reed - Transformer (1972)

This ghostly picture of music icon Lou Reed that became the cover of the Transformer album was an accident, according to photographer Mick Rock. He says, "Shot at Kings Cross Cinema. The Transformer Album Cover. It was Lou's first ever concert in Europe. When I showed him the contact sheets, he was particularly keen to see a print of this shot…I didn't notice the negative fall out of focus in the enlarger when I made the first test print, but the accident added another layer of mystery to the image. Lou knew immediately that this should be the cover for the album."

Andy Stott - Luxury Problems (2012)

AS: "When an album's finished, [Modern Love founder] Shlom Sviri tries to find an image that has the same sort of impact as the music. For this record, he came over to my house with this photo and was like, "I think I've got it!" It's just incredible, a perfect image. The lady's doing such a controlled dive, and it could quite easily go wrong. It represents the fine line between the point of control and being a mess."

Husker Du - Zen Arcade (1984)

The cover of Hüsker Dü's landmark 1984 album Zen Arcade features a hand-colored photo of a car-crushing yard. This location is down in the Pig's Eye Lake industrial area in Minneapolis (not sure if this is the exact address, but it's close to there).