I recently wrote here about frustrations I was having with how my iPhone displayed album sleeves on its Music app. Since then I’ve been somewhat forced to sign-up to Apple Music to get over this, (and other), issues with the app. In doing so it feels like I have made a major shift in some of my long-held behaviours; this is not just in regard to how I listen to music, but also to my relationship with music visuals.
In discussing this personal cultural change to how I ‘buy’ and own music over on A Different Kitchen, I pondered whether I had bought my last CD in pre-ordering Wire’s forthcoming release Mind Hive prior to signing up to Apple Music. Since then, I have bought other music physically, but these haven’t been for my usual choices of wanting better sound quality when I listen to certain artists, (a CD on a good stereo is, to my ears, is far superior than a download), but because these recordings were not available via Apple.
I think my iPhone hates me, it has recently been swapping the album artwork of one band for another.
This is very much a first world problem, I know. But it does feel very personal. My phone, for all its ‘smartness’, must know how important graphic design and music are to me. I use the Music app everyday of the week to listen to new and old sounds on my walk to work. I post and read about graphic design on many social media apps and blogs I follow just as often. My phone won’t know that it was album sleeves that got me into graphic design in the first place, but there are obvious clues. So forgive me if I feel aggrieved.
In the above screenshot of the ‘Recently Added’ section of the Music app, you can see the sleeve for the Birdman OST replacing what should be Gaye Su Akyol’s recent release. Likewise, a Peter Perrett album becomes Creep Show’s Mr Dynamite, while Dead Rat Orchestra become David Byrne and Kaddal Merrill becomes Young Fathers.
Today sees the last copy of The Guardian in its Berliner format.
What is about to follow will be known by those that come to this blog post after Monday 15 January 2018, when the new look Guardian is launched. But for now, only the new masthead has been revealed in a video teaser.
The teaser, and its corresponding print campaign, demonstrates some interesting references to John Stezaker covering found photographs with white squares, (and Jonathan Barnbrook’s subsequent ‘borrowing’ of this for David Bowie’s The Next Day), see Field Readings’ post Graphic obscura.
I don’t know whether people still produce fanzines or not, but Kek-W is so tired of writing online that he has decided to produce one. Or rather, as he calls it, an analogue blog.
Titled Kid Shirt, this is basically a physically constructed fanzine involving actual cut and paste, which has then been scanned as a PDF for anyone to download. He sets out his rationale in the first pages: