GOAT tour T-shirt by Luke Insect, available in 3 colours on the band’s US tour.
Design
When the cover image for David Bowie‘s ‘The Next Day’ appeared earlier this year I was firmly in the ‘dislike’ camp. Designer friends raved about it but I just couldn’t agree, although it was nice to have a debate raging over a piece of graphic design – brilliant PR move there. Jonathan Barnbrook‘s defacing of Bowie’s classic, ‘Heroes’, did nothing for me visually despite being a bold move from Bowie for allowing such an act to become the cover of his new album. Supposedly signalling a need to move on and obscure the past from which any artist is always judged, Barnbrook said, “The obscuring of an image from the past is also about the wider human condition; we move on relentlessly in our lives to the next day, leaving the past because we have no choice but to.”
Fair enough, I can get with that but the result is dull and ugly to me, the casual scoring out of the original title and insertion of a white square seemingly designed to provoke. The use of a classic image reminds me of lesser designers who take other’s established icons as part of their own to bolster their visual cred, the equivalent of someone wearing a faux-distressed Led Zeppelin T-shirt they bought in Top Shop last week. The dull typeface across the middle… there’s just nothing to say about it. I would have liked it if they’d have physically stuck a white square with the title onto actual Bowie albums from the past, not just ‘Heroes’ but any of them, that would have had some impact.
The moment passed, as all internet ‘storms’ do, and the first single emerged to rabid fanfare, which I was also unmoved by. I like Bowie but I can’t say I could remember a song he’s done since the ‘Let’s Dance’ era if I’m honest and I stopped checking him out a long time ago. Then, last week, I was at dinner with some friends and one recommended I listen to it as it was, ‘the best thing he’s done since ‘Scary Monsters’. Really? But the single was a maudlin ballad, sung by a man who sounded like he was reminiscing about his glory days – although excessive plays on 6 Music over the past month have softened me to it somewhat. ‘No, that’s the only thing like it on the record, the rest is just a great rock album, said the friend. So I went home and checked the stream on iTunes. My god, he wasn’t wrong.
After hearing the single, the album is a revelation, not only is it full of killer hooks and inventive arrangements, it’s Bowie in full flow. Opener, ‘The Next Day’, kicks straight in and within 70 seconds roars into the chorus with Bowie hollering for all his worth, “HERE I AM, not quite dying, my body left to rot in a hollow tree!” As opening tracks on a comeback album go, that takes some beating and immediately silences all the pundits who were sure the album would be a melancholic glance back at the past by an aging icon. You’d never know it was the same record to feature, ‘Where Are We Now?’, which is a huge curveball of a lead single if ever there was one. ‘Dirty Boys’ skanks along sounding like he’s being backed by Fishbone at a New Orleans wake, ‘If You Can See Me’ is just intense, his voice pitched into alien dimensions whilst navigating a time signature that would tax any competent player. ‘Dancing Out In Space’ recalls the best parts of the 80’s pop like ‘Modern Love’, a joyous, bouncy song with doo-wop backing vocals whilst ‘Boss Of Me’ alternates hard and soft that even the saxophone can’t spoil. There are shades of both 70’s and 80’s Bowie, the ghost of Robert Fripp‘s guitar (although he doesn’t actually play on it), the mood is generally uptempo and his band is tight as… It’s chock full of singles and you wonder whose idea it was to lead off with what is essentially the breather you get after the first five tracks. The closing track, ‘Heat’ sounds like ‘Low’-era Bowie meets Scott Walker doing ‘The Electrician’, a chilling piece to end the album. If you get the deluxe download edition there are three bonus tracks too, none of which are filler in any way.
All that to say, I love it, I’ve played virtually nothing else all week and, inspired by the music, I decided to do my own take on defacing ‘Heroes’ which I’ve posted above.
A digital recreation and remix of an early Designers Republic sleeve for The Orb who are doing some sort of gig performing their first two albums at Brixton’s Electric venue on April 5th. Tickets and event page are here.
Below is a post from my ‘other’ blog – ArtOfZTT.com – where I post artwork relating to the ZTT label and interview the people who made it. 
I arrive early, at a pub just outside Hither Green station in deepest South East London, to meet Tony ‘AJ’ Barratt, renown music magazine photographer and key ingredient in the early days of ZTT image-making. His photos of spanners, statues, masks and landscapes gave an identity to (the) Art of Noise as well as gracing the first release from the label, ‘Into Battle’. He also did many live shots, promo and video stills for Frankie Goes To Hollywood and Andrew Poppy.
It’s Friday evening and the place is filling up, the only photo of Tony I’ve got for reference is 30 years old and he’s told me to look out for ‘a hairless Glenn Gregory, ex of Heaven 17 lookalike’. After about 10 minutes a guy comes in who might fit the bill and I catch his eye, ‘Tony?’, ‘Yes’, he says, shaking my hand but with a very puzzled expression on his face. ‘Tony Barratt?’ I enquire, ‘ah, no, you’ve got the wrong person, he says, ‘but my name IS Tony though’. With perfect timing, the right Tony walks through the door holding a copy of the Ambassadors Theatre program for ‘The Value of Entertainment’.
He does indeed look like Glen Gregory, albeit without hair, and is instantly warm, engaging and candid about his early experiences in the music business. We’re joined by his partner, Jan, and after a couple of pints we repair to his house nearby where I notice the 12″ picture discs for both ‘Relax’ and ‘Two Tribes’ amongst the many pictures hanging on their walls.
How did you get it touch with ZTT? Presumably you knew Paul from working at the NME or was that later?
No, it’s much more personal than that, I moved down to London with Paul’s sister, Jayne (they were an item). I knew Paul in Stockport, vaguely…
Is that where you’re from?
Yeah, and he bought out a fanzine – ‘Out There’ – sent it down to the NME and they said, ‘you’ve gotta come down and speak to us as soon as you can’. He went down and started off his career, this must have been early eighties so that kind of fits in. I moved down to London with Jayne in ’83 and I was a photography student at Harrow. In my second year there, obviously Paul Morley was (at) the NME and he was doing all this great stuff, (so) I took my stuff to the NME. This was before the Art of Noise or whatever. I was shown the door.
I went to the Melody Maker and started doing work there, concert stuff and photos and things, and then as time went by, Paul suddenly started to get involved with… I’ve no idea how that whole thing came to be – that he met with Trevor Horn, you might know a bit more about it or it might be mythologised by Paul or whatever.
The accepted story is that he interviewed Trevor when he was in the Buggles…
Yeah I remember that.
…he slated them, but when Trevor got the opportunity from Chris Blackwell (head of Island records) to start a label, he remembered Paul and got in touch. That would have been at some point in ’82 or ’83 presumably so you would have done those Art of Noise photos in the summer?
(Laughs) It’s awful to say but I have no memory of when or how, you have to remember that I was coming to the end of my photography course, I don’t think I’d actually left and there was this vague idea of some vague photos that might be needed for this vague idea of a group. And it was never something that was kind of like, ‘here’s a brief, we would like you to go out and do this’. The record label started and there’re all very exciting PAs at the Camden Palace with the Frankies, all sorts of bands were signing and people were interested and it was going to be the artist event of the… which it turned out, in some ways, to actually be.
AJ (with cable release), Paul Morley (with phone) and friends circa ’83 – AJ: “I took this from across the room with the cable release, if I remember, Paul was on the phone to Trevor sorting out the ZTT thing.”
But I can’t actually remember. I remember it being a great time, I’d moved down to London, I was on the guest list of these great parties and it was free drinks and I thought, ‘oh my god I can’t believe this’. And then there was this record label and there was the Frankies and this vague idea of this thing called The Art of Noise and it was never like a… Because the members were so busy all the time, it was never like, ‘the group are going on tour now, etc.’ So there was no real sense of urgency.
They weren’t a group in the classic sense were they? They were producers, studio engineers and arrangers, which is commonplace today, but back then… They were ‘the music’ and Paul was ‘the image and the words’ and he knew how to present them.
Yeah, I’m not sure how you’d describe it, and he would chuck things in, he really did chuck things into the mix there, but there was never any sense there of… a plan. I got the impression that the music they made was at the end of a hard day producing whoever the hell it was.
The initial ideas for the Art of Noise apparently came from producing Yes, they stole a drum track which was going to be wiped, which then became the basis for ‘Beatbox’.
Well, if you listen to ‘Owner Of A Lonely Heart’ by Yes, there’s a bit in the middle where it kind of flips up and I remember that being crucial to the Art of Noise. I think that’s when Morley kind of went, ‘that’s what the Art of Noise should be’.
When you took all the images like the hand with the rose and the spanner, that was just you on your own or did Paul come with you, did he give you those props?
My memory of that is that, at that time, I would just go out and take photos. When Paul was talking about the Art of Noise, what kind of came into my head was like Russian Constructivism, Futurism… The Human League did an EP called, ‘The Dignity of Labour’ and I always thought of this idea of labour being a fantastic idea to get into, you know, the ‘strength through joy’ kind of thing.
I know what you mean, like SPK, imagery of spanners and hammers, almost acting out Russian Constructivist posters.
So, I would just go out on a Saturday afternoon, go down to parts of London that I didn’t know and I’d just wander about, climb into things and take photos of things and mess about. Where those photos were taken, where that crane was that I climbed into, the same place as the van (from the ‘Close Up’ sleeve). It has obviously been a scrap metal yard at some point but you can see Tower Bridge in the background and when you think about London 30 years ago, there’s a piece of scrap land that you can see Tower Bridge from, that’s unbelievable.
It’s fascinating for me to see the contacts for the original Art Of Noise spanners etc., just seeing the outtakes or different shots. (AJ had provided me with original contact sheets for some of these shots).
The spanner photo (above) is my favourite of all time because it’s my arms, I set the shot up and I judged how high up I should put the spanner and I did the cable release with my foot. Strange but true, when I saw it, I just thought, ‘wow’. It’s very rare that, you know yourself as a graphic designer, that you do something and…‘bosh’, it works. I was fairly pissed off when Morley didn’t put it on the cover. The one with the van is at a completely different time when I took my mate Phil down.
I’d figured that, I was going to ask, who was that in the mask?
(Laughs) In those shots it’s a friend of mine from college called Phil Priestman, where is he now?
Because you’d assume it was Paul.
Really? Do you think so?
Well, if there’s an image of the group, he was presenting that so you’d assume (that). It doesn’t matter who’s behind it though. Was that the same with the figure on the beach?
No, that was Jayne (laughs)
I’m not sure I want to explode any of these myths (laughs). This is the thing, I’m very aware that by explaining all this stuff it could just sort of pop the bubble. I don’t necessarily want to do that.
Well, I think it’s all well and good actually, the shots on the beach were at a place called Birling Gap, up between Brighton and Newhaven, very nice because of all those rocks and things. Me and Jayne went for a nice day out and…
“Put this cloak and mask on love…’ (laughs)
It was a cape actually, Jayne used to work at the National Theatre as a dresser and she borrowed it (laughs). If memory serves I was given the mask at ZTT and we took it down with us, or Paul dropped it around to where we lived back then. It had never crossed my mind that people would take for granted that that was Morley.
Well, who could it be? No one knew who it was… it was The Art Of Noise in some respects.
(raucous laughter from Tony) Trevor Horn?
You would assume he’s the guy in the cloak, you know? ‘Don’t look behind the screen’, kind of thing. So there’s me thinking it’s Paul and it’s actually his sister!
That’s great.
I didn’t know who it was, there’s one on the back of ‘Close Up’ and there’s someone holding the mask and you can see some slicked back hair…
Yeah, that’s Phil Priestman (laughs). Who happened to have the same kind of haircut but that’s really interesting, I’d never thought of that.
In all the Art of Noise sleeves – their greatest visual asset (to my mind) was the masks and they dropped that completely once they’d moved to China records.
‘Close Up’ is my favourite Art Of Noise 12″ bar none. For everything about it – the music, the cover, the photos, the colours – that epitomizes them for me.
I’d say you’re right actually.
I would stare at that record, like many other ZTT sleeves, and just try and find clues because that was what ZTT was about, it never gave you the answers it just posed the questions and that was half the fun of it.
Well that was part of Morley’s…mystic.
Because he got so much stick over other things, he hasn’t really gotten the credit for the art direction.
Having known him since… when I first met Paul he had hair parted down to here. Tangerine Dream, Nick Drake, reggae, he loved all that. I have the utmost admiration for him, but having said that, I have watched him chance it and throw it out there so much, actually to the detriment of his health. Like all his heroes, he believed that if he kept that up, he could keep throwing out those great ideas, ‘their fourth number one’, let’s put sperm on the cover, this’ll go. And it got to the point where actually, Jill Sinclair and Trevor were saying, ‘well look, we need to make some money here’.
You can kind of see that in the sleeves and such, that playfulness, ridiculously indulgent whilst the coffers are filling up from Frankie’s success. He had a couple of years of ‘the dream’, the honeymoon period, if you like, and then he was reeled back to reality.
The cemetery pictures for ‘Who’s Afraid of the Art Of Noise’, was that Highgate with all the statues?
I don’t know which one because there are a few, I think the cover is Anton‘s (Corbijn), that’s nothing to do with me. I used to get really pissed off at it actually because I’d be ‘Art of Noise photography: AJ Barratt’ and then there’d be this image that wasn’t mine – Anton Corbijn. Because there was no real brief… there’s a photo of a statue holding up a mask, I can’t remember what it’s on? (Moments In Love 12″ sleeve). That’s in a Paris cemetery, I thought, ‘mask, statue, that’ll do for me’ and off you go. There’s another one in Paris from the same time where there’s a wall and a bit of graffiti and a statue behind, that’s at the Eiffel Tower, it was the same time. But the whole thing with the Art Of Noise was, if you see a little image like that, from my point of view, ‘take it’ and take it to Paul who would say, ‘I like that, we’ll see what we can do with it’. And the next week it’d be on a sleeve and you’d go, ‘er, alright Paul, should I chuck an invoice in?’, ‘yeah’, ‘alright, thanks’.
So, what would happen with this? Would you ever meet the designers or would you give the stuff to Paul and he would sort it?
I didn’t have much contact with designers – I was a photography student at the time. I remember going to a design studio in Soho in, maybe, Carnaby St. and I’d take stuff in and talk to them about it. They were really nice actually.
That would have been XL
It was XL, it wasn’t Tom though (Watkins) because he was the manager. I remember taking some stuff in and them saying, ‘what was the brief with this?’, and I said, ‘hey, this is ZTT, Paul Morley’..., you know? See if you like it and work around that.
He was famous for coming in with little things like beer mats with scribbles on and then working from that.
He directed the ‘Moments In Love’ video and I remember doing the stills on that and getting a picture of JJ (Jeczalik) who had the make up on, holding a rose. And then going round to Paul’s house once when he was sick to get permission to use it and him shouting, ‘AJ, what were you thinking?’.
You did the shot of the three of them and they’re made up as, almost clown / marionettes? It looks like it’s in a hairdressing salon.
No, no, that’s backstage at The Tube (80’s TV music show) when they were on it, I did take those, yeah. We flew up to Newcastle, it was a horrible flight, bumpy all the way.
I love that photo, that’s the nearest they came (whilst on ZTT) to ‘being the group’, Anne and Gary have face paint and JJ has a mask. It’s interesting that when the Art O Noise signed to China records they made lots of records with guests – Tom Jones, Max Headroom, Duane Eddy – and they needed a front man because Paul had previously provided that.
I think they suffered from that, there was no guiding voice.
Who has these negatives then? ZTT?
Um, you see, when we moved abroad a lot of stuff got destroyed and lost but I would love to say that everything was filed up beautifully from A to B, but it isn’t. But yes, they did go to ZTT and they might well have disappeared.
At this point we have to disappear too so we’ll end part 1 here having sampled AJ’s memories of the Art Of Noise. Part 2 will be along shortly where we conclude with tales of Frankie tours and frustrating videos shoots.
All photos except the backstage of the Tube scanned from AJ’s negatives, © AJ Barratt. All sleeve and picture disc art scanned from my personal collection, © ZTT. All text © ArtOfZTT 2013.
Postscript: “Trevor Horn once told me, every studio in the land has a cupboard, where they’ve nicked all his samples” (laughs).
The Trunk reissue 10″ of Tom Dissvelt and Kid Baltan‘s ‘Electronic Movements’ single with my original Philips 7″ version of the same. The reverse of the Trunk release has Daphne Oram‘s ‘Electronic Sound Patterns’, which I don’t have an original of so you get the reverse of the Philips 45. As usual with Trunk, this is pretty limited and available from the website now. Also there’s an excellent 8 page overview of everything Trunk in this months (Feb 2013) Record Collector magazine.
Posts are slowly but meticulously being added over at artofztt.com
AJ Barratt: “I remember going into the NME offices one day and I saw this poster on their wall, and someone had added a third line to the bottom of it. ‘Noise Is Golden, Silence is a Dead Giveaway… and Bullshit stinks’, that’s what it was! (Laughs) That’s what somebody had written.”
‘Into Battle’ promo poster from the archive of AJ Barratt, digitally restored by artofztt.com. Also included is the original photo for this design, scanned from the negative. The quote above is from a forthcoming interview with AJ which contains more exclusive images from his collection.
artist: Art Of Noise title: Into Battle With Art Of Noise format: A2 promo poster design: XLZTT photography: AJ Barratt cat. no: ZTIS100 date: 09/83 art of notes: The red crosses are identical to the ones on the ‘You Can’t Suck The Same Piece of Sugar…’ poster and continue the trend for ephemeral symbols hovering in the top right corner.
I’d like to bring your attention to a new blog I’ve set up about the Art of ZTT Records (or ‘Who’s Afraid of the Art of Zang Tuum Tumb’ to give it its full title).
For years I’ve been collecting everything I can find from the early 80’s incarnation of this label and tracking down the designers and photographers responsible for some of the artwork. It’s a constant work in progress, starting off as a possible magazine article then progressing to a book idea and now, finally, I’ve decided to make it a website.
Inspired by Paul Gorman‘s rehabilitation of Barney Bubbles‘ work into today’s design community I hope the same can happen for the work of ZTT as it was hugely influential on my own desire to design for the music industry. XL, Accident and The London Design Partnership aren’t exactly household names in the same way as Vaughn Oliver and Peter Saville are but I think that the work they produced for the label in their golden age is at least an equal of the Factory and 4AD portfolios.
The site will eventually feature sleeves, promo posters, print ads, photos, exclusive interviews and associated ephemera connected with the label, its artists and designers. At the very least it should be an exhaustive gallery of an innovative label with a host of rare and forgotten imagery.
Just out is issue 3 of Classic Pop magazine with a 4 page article I co-wrote with editor Ian Peel about the 80’s music design work of the XL design studio. You don’t hear much about them but they’re a big passion of mine because they largely defined the look of the Zang Tuum Tumb label from 1983 through to the end of the decade, greatly influencing myself in the process.
Whereas some had Saul Bass, Hipgnosis, Peter Saville or Vaughn Oliver, I had XL who, in conjunction with press officer Paul Morley and another group, The London Design Partnership, created the look of my favourite record label of the 80’s. They did many other sleeves for pop acts on other labels as well but the combination of their work with design briefs from Morley (collectively XLZTT) really stands out from the pack and it’s this that we focus on.
Op-Art seems to be back in a big way in 2013. After seeing the odd example over the years (Trevor Jackson‘s Soulwax sleeves spring to mind) the floodgates seemed to open last year. Chris & Cosey‘s ‘Transcend’ sleeve was the one in all the end of year lists and I think I’ve featured more op art in the last year than ever before.
Drums of Death was one of them and his Waves trilogy of EPs (red, blue and black) are getting the remix treatment on the Civil Music label. Above are the cover of the remixed versions of red and blue with the original blue and black below. Whilst the music isn’t all my bag I can highly recommend ‘Bang The Drum’ from the Red Waves EP. The Blue Waves Remixed 12″ is released on March 4th.
Date 70 – Space Loops Vol.1 & 2, 7″ covers and coloured discs, Enraptured Records 2004 / 2007
Two Systems 7″ picture disc with music by Wrangler and Scanner, Static Caravan Records 2008.
Selected images from the amazing portfolio of Karol Lasia aka Khomatech.
Christian at Stylusnation sent me this photo of the Pete Namlook / Fax records tribute poster I designed. His wife downloaded the pdf and had it printed and framed as a surprise for Xmas, looks beautiful, well done that woman. 
Fabulous Hallmark calendar from 1970-71, designed by Push Pin Studios and containing 16 months. Seen via the ever-excellent Voices of East Anglia website who, themselves cribbed it from the Flickr of Mewdeep who has the full thing.
2012 was a busy year for me, probably one of the best yet in terms of new things achieved and unique experiences. I’m always striving to do something different and at the end of each year I remember the line from The The‘s ‘I’ve Been Waiting For Tomrrow (All of My Life)’, “another year over and what have I done?”.
Thankfully 2012 has been a golden year in terms of ‘getting things done’:
Finally getting ‘The Search Engine’ out there was a good start as were the Greenwich Planetarium launch shows and exhibition with Henry Flint at the Pure Evil Gallery, all in January.
Featuring on a Cineola podcast, being interviewed by Matt Johnson alongside an exclusive remix of ‘GIANT’.
The Kraftwerk month and mixes I did on my blog going a bit viral in March.
Having The Amorphous Androgynous remix one of my tracks for a release on Record Store Day was a massive thrill. Hearing it played on 6 Music was great too.
Going to Montreal to learn about and present The Search Engine show in their SATosphere was one of the proudest points of my gigging career to date.
Having J.G. Thirlwell pop round for tea and a chat one afternoon.
The Food & Flint exhibition, hosted at the Factory Road Gallery in Hinckley by Sarah & Leigh was amazing fun.
The Sacrum Profanum concert in Krakow I took part in after an invitation from Skalpel was one of the most fantastic concerts I’ve ever seen and gig of the year for 2012.
The Beastie Boys’ ‘Paul’s Boutique’ mix I did with Cheeba and Moneyshot making waves on the web.
Playing a small part in some of ZTT‘s Element reissue series and getting to edit one particular master recording for a future issue.
Providing images, sleeve notes and audio for a reissue compilation of John Rydgren‘s work on the Australian Omni Recording Corporation label.
Instigating and then editing the results of a new meeting of Coldcut and The Orb for the 25 years of Solid Steel mixes in 2013.
With so much out there it was inevitable that some got missed.
Things that came out in 2012 that I still didn’t get to see or hear:
Berberian Sound Studio
Cabin In The Woods
Lone’s – Galaxy Garden album
The Amazing Spiderman
The B.P.R.D. hardback editions
Butcher Baker comic
Can : The Lost Tapes compilation
The last few issues of Godland comic
GOAT’s ‘World Music’ album
A couple of weeks ago I posted about buying a fifth copy of The The‘s ‘Infected’ album upon finding a test pressing secondhand. Whilst record shopping in Montreal this summer I found a new copy of the Nonesuch vinyl reissue of Eno & Byrne‘s ‘My Life In The Bush of Ghosts’ – another of my all time favourite albums. The CD reissue in 2008 with the bonus tracks is already in my collection but the double vinyl version added multi-track parts to two album cuts on the fourth side as well so I couldn’t help but pick it up.
Add to the bonus audio that the whole package was housed in a beautiful, heavyweight card gatefold sleeve with notes and it was an instant sale. Around the time of the reissue a special website was created with additional content such as extra sleeve notes by Paul Morley, recording session photos and discarded screen captures from the original artwork. Unfortunately it hasn’t been updated and now all you can get is the home page (possible out-dated Flash plug-in is my guess) so here are some of the artwork outtakes.
I now own five versions of this seminal record – the original vinyl (with the track, ‘Qu’ran’ which was later removed), original CD, Nonesuch reissue CD and vinyl. There’s also an Italian bootleg CD called ‘Ghosts’ with demos and original versions before samples were removed or tracks reworked which features a couple of things not on the reissues. I also have the two 12″ singles that were released originally in the early 80’s but not the ‘first edition’ vinyl bootleg of demo versions.
Apparently above is a scan of an earlier version of the album sent to the record label. Because of ‘sample-clearance’ issues (this was 1980, such a thing was unheard of) the record was delayed and later some of it was reworked by Eno and Byrne. Some tracks were dropped or titles changed, some mixes were redone and some new tracks were added. Most of the dropped tracks were reinstated on the reissues on Nonesuch. I never tire of this record and the reissue is the rare exception of the bonus material actually adding to an enhancing the original rather than just padding it out.
Much like Malcolm McLaren‘s ‘Duck Rock’ album this record is a product of its time and exists almost in a vaccuum, barely dating in the 30 years + since its release. You can hear echoes of the sounds Eno & Byrne created here on either side of their respective discographies around the time but they never fully reached the other-worldliness achieved on this album
I actually already included this in my list of favourite design pieces of 2012 before posting it on the site even though these photos were taken months ago. The Rx:Tx label from Ljubljana reused their die-cut packaging again (this is the third time to my knowledge) but now with a retina-burning Op-Art design for Fulgeance‘s album ‘Step-Thru’. 
I was shocked to hear of the death of Ewan Robertson yesterday, one half of design duo Oscar & Ewan who created many iconic covers for Ninja Tune and Big Dada g others. Ewan also recorded as Offshore for Big Dada and had just released his first album only a month ago –‘Bake Haus’. Alongside Oscar Bauer, Ewan created some iconic sleeves for the labels including Roots Manuva, Wiley, Bonobo and the recent Amon Tobin set housed inside a ‘flower press’.
I only met him once or twice – first at the exhibition for the release of the Ninja Tune ’20 years of Beats & Pieces’ book – and he was friendly, humble and easy to talk to. We’d corresponded over email many times in order to get his and Oscar’s work well represented in the book and he graciously agreed to show the plaster cast of Roots Manuva’s head they’d made for the ‘Slime & Reason’ LP campaign at the opening.
He was always super helpful and supplied many exclusive images from behind the scenes which showed the processes they went through when designing. My thoughts go out to his family and friends, he left a small but striking caché of music and visuals behind that will ensure he isn’t forgotten.
It’s on the horizon, no denying it any more, best accept it and hope you get something you actually want. Here’s the last of the scans from the European magazines Steve Cook and I found back in May, all Xmas-themed for you. As usual there’s an unhealthy obsession with guns and what looks like a cut out card to send to Santa.
The first trailer drops on Dec 10th but here’s a look at the Gipsy Danger monster-fighting Jaeger bot from Guillermo Del Toro’s forthcoming Pacific Rim film, due out next July. The silhouette of a human at the bottom shows the scale of it.
And now there’s a second one, a Russian ‘Cherno Alpha‘ bot, there are also a couple of teaser films doing the rounds and ‘leaked documents’ relating to these blueprints.
And then there were four five: 
that’s some BIG robot action next year