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Swissted: Where Punk Rock meets Swiss Modernism | WANKEN - The Art & Design blog of Shelby White
http://blog.wanken.com/10886/swissted-where-punk-rock-meets-swiss-modernism/

The Who - Quadrophenia (1973)

Quadrophenia began shortly after the May 1972 session to attempt to create a follow-up to Who's Next. Pete originally intended a mini-opera about the members of The Who called "Rock Is Dead - Long Live Rock." Ultimately his attention went more to a central character like Tommy, here called Jimmy, who would be a Who fan of the Mod era but would also embody The Who. Townshend had played with this idea before; at one point in Tommy's genesis, Pete planned to have parts of Tommy's personality represented by The Who. Another part of the form of Quadrophenia came from the failure to film Lifehouse. Instead of creating a filmscript that would probably never be made, Pete planned Quadrophenia as an album that would be the soundtrack to a never-made film with both music and sound effects and a photo album to supply the images.

Decoder & Substance – Dimensions | adam pizurny
http://adampizurny.com/portfolio/decoder-substance-dimensions/

Klasika od Sepultury. Nevím proč ale ten booklet je geniální.

Talk Talk - The Party's Over (1982)

On a design point of view, this artwork is either simple and strong. The typework is a bit straightforward, but the whole thing here is in the visual : it cleverly expresses the Band's name instead of the album's title, which makes sense as it was a debut LP. It has a definite New Wave touch, reminding of the Visage cover for example, and all those New Wave elaborated make-ups, but does provides a striking bizarre feel. There is some Cocteau in this one, and a bit of psychedelic rock, maybe... And the tear makes it perfectly neo-romantic.

This striking sleeve was designed by Bill Smith, a British designer who was art director for Octopus Book, then for Polydor in the late 70' and finally created his own studio : BSS http://www.bssp.co.uk/ . He was responsible for a wide array of work, and to name just one classic for you New Wave Teds, He did the cover for The Cure's "Killing An Arab"

Woodkid - The Golden Age (2013)

Nobody interested can't have missed it, as the hype for his new album was perfectly marketed, but Woodkid is nonetheless interesting as a striking example of the new generation multimedia wiz kid that can create stunning music, design, video or anything. Art Direction Pierre Le Ny - Illustration : Jillian Tamaki.
Check the website of Woodkids director/photographer http://www.yoannlemoine.com/ for a bowl of splendor.

Furi Anga Remixes | adam pizurny
http://adampizurny.com/portfolio/furi-anga-remixes/

CERMINEK: to stinovani je naprd, a tie tela su disproporcne :)

Endwise – Mind Fields EP | adam pizurny
http://adampizurny.com/portfolio/endwise-mind-fields-ep/


Sven Nalis – Different Stories EP | adam pizurny
http://adampizurny.com/portfolio/sven-nalis-different-stories-ep/

Technical Itch – Progression Threat | adam pizurny
http://adampizurny.com/portfolio/technical-itch-progression-threat/



Jafu – Private Gain EP | adam pizurny
http://adampizurny.com/portfolio/jafu-private-gain-ep/

Queens of the Stone Age - ...Like Clockwork (2013)

The cover art for the album was made by the British artist Boneface http://www.boneface.co.uk/ . It is based on a publicity still for the 1931 film Dracula. Alongside the original red cover, the band has also released a limited edition vinyl with an indie blue cover exclusively through independent retailers.

The Response – Space Wind EP | adam pizurny
http://adampizurny.com/portfolio/the-response-space-wind-ep/

Daft Punk - Homework (1997) / Discovery (2001)

The first two Daft Punk’s albums have one thing in common. They both utilise the bands logo as the main graphic. You’d think this would get boring after a while but it’s a smart move as both the albums are easily recognisable and have a nice twist on the logo. The creativity is in re interpreting the logo each time. The artwork has the sublty that at first glance is not noticed. It feels like underneath there is something going on and everybody is invited. Disco, house, punk?

Faust - IV (1973)

In a decade readily identified with flamboyance, the minimalist album cover for krautrock group Faust's fourth offering prepares you for the difficult, contrarian music inside. Several versions exist, but the key image is always the same; two columns of blank musical staves. A bold mission statement and a striking cover.

Peter Gabriel - 1, 2, 3
Peter Gabriel produced three funky, angular albums between 1977 and 1980 sharing the same bare typography, the same eponymous title and similar, striking portraiture.

1 (Car) (1977) - Another Hipgnosis creation, the spot colour on Peter Gabriel 1 was achieved by layered exposure of monochrome and colour negatives. Photoshopping before Photoshop, in other words.

2 (Scratch) (1978) - In “Scratch”: Gabriel’s outstretched fingers tear away the cover. This is a 35mm black and white still, with torn strips of paper glued on top. It was then re-photographed; the new shot was meticulously tippexed to disguise the rougher joins. It was then photographed yet again to produce the end result. Today, a similar effect would involve a basic design program and a lot of messing around, but it could never achieve the same result.

3 (Melt) (1980) - The photo was taken with a Polaroid SX-70 instant camera. The sleeve's designer Storm Thorgerson said: "Peter himself joined with us at Hipgnosis in disfiguring himself by manipulating Polaroids as they 'developed'… Peter impressed us greatly with his ability to appear in an unflattering way, preferring the theatrical or artistic to the cosmetic."

MDC - Millions of Dead Cops (1982)

Carlos Lowry designed this cover for radical San Francisco punks MDC's debut, based on a mural by Raul Valdez in Austin, TX. Though MDC was a ferocious presence, they were also quite thoughtful in their approach, which extended to their album arts, seen in this anti-facist image that somehow recalls the populism of Warhol and the style of Lichtenstein. This album, together with the "John Wayne Was a Nazi" single, is considered a hardcore punk classic.

The Beatles - The Beatles (1968) aka The White Album

The album's sleeve was designed by Richard Hamilton, a notable pop artist who had organised a Marcel Duchamp retrospective at the Tate Gallery the previous year. Hamilton's design was in stark contrast to Peter Blake's vivid cover art for Sgt. Pepper's Lonely Hearts Club Band, and consisted of a plain white sleeve. The band's name was discreetly embossed slightly below the middle of the album's right side, and the cover also featured a unique stamped serial number, "to create," in Hamilton's words, "the ironic situation of a numbered edition of something like five million copies."
Indeed, the artist intended the cover to resemble the "look" of conceptual art, an emerging movement in contemporary art at the time. Later vinyl record releases in the US showed the title in grey printed (rather than embossed) letters. Early copies on compact disc were also numbered. Later CD releases rendered the album's title in black or grey.