Eric Boman, Country Life
“American Vogue saw rapid changes after grande dame Diana Vreeland’s retirement. Photo editor Alexander Liberman was looking for a new pictorial language of “bad” photography of a casual and, if you will, unprofessional quality. At the time when Roxy Music’s Country Life was released in November 1974, Helmut Newton was about to define this new style in his own iconic way, with highly staged images of females caught in the very act of something. According to Constanze, they just had to look weird and surprised.”
— Tintin Törncrantz, Just Another Colette Blog
Eveline Grünwald and Constanze Karoli — incidentally, Can guitarist Michael Karoli’s lover and cousin, respectfully — in my favourite record cover ever. You’re so surprised.
Joanne Leonard, Sleeping Man (1971)
Also known as the cover of Suede’s Dog Man Star.
Swans, Holy Money
I remember seeing Swans records for the first time as a teenager, rifling through crates of vinyl records in late ’80s Belgrade. I remember the pull these 12” artifacts had — powerful, and mysterious. I remember being sixteen and only being able to imagine the music — having never heard Swans before — and I remember feeling I needed to hear the music within. And I remember being a little scared, but not nearly as much as when I finally got to hear it.
Some music scares you when you’re young, and the feeling eventually wears off. Swans spoke the truth, and being scared of the truth never wears off. Scratch behind the surface, though, and you’ll find love & hope just underneath.
Swans, Holy Money (back)