Hayward’s new studio, Next Episode, “does about 50/50 music and corporate work whereas Debaser was 80 to 90 per cent music”, he says. Some of Sydney album designer Aaron Hayward’s local album covers. “Now music is a commodity and it changes the share price of whatever company it’s attached to.” “People believed music was art, and it could change the world,” he says. Saville is one of several successors and contemporaries who turn up in the film, but again it’s Noel Gallagher who defines the sense of an age irretrievably lost. “A lens of fascinating excess” is how he describes Hipgnosis from his more austere modernist perspective. His sleeves for Joy Division, OMD and New Order led him well into the Britpop ’90s. Then, Peter Saville was the coming name in album design. The look also emphasises distance from an era that was already declining when Corbijn left Holland to work for the New Musical Express in new-wave London. It’s a crafty invocation of the Hipgnosis effect: the trippy portal suddenly illuminating the grey school bus. With Po as wistful guide, Corbijn opts for a black-and-white palette with only the album covers blazing in colour. The statement underscores the elegiac tone of the film. A scene from Squaring the Circle, shot for a poster insert for 10cc’s 1980 album Look Here.
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