FEATURE: Bunch Of Fives – Blaenavon | NARC. | Reliably Informed | Music and Creative Arts News for Newcastle and the North East

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With a show at Newcastle’s Riverside to come on Sunday 18th September, dark and immensely talented indie trio Blaenavon decided to whet our appetite with a little bit of something fun. Over to you Blaenavon…

Hello, dear readers of NARC. We’ve chosen five of our favourite album covers. It’s irrelevant, but the music is also pretty good on all of these albums, if you like listening well as looking.

Nirvana – In Utero
Ben – This artwork creeps me out and that is why I love it. The angelic figure’s seemingly perfect beauty is left tarnished by the record’s weary colour scheme: a warning of a band deliberately tearing their sound apart.


Elliott Smith – Roman Candle
Harris – For me, this cover represents the fleeting but beautiful nature of a roman candle, the album or the firework, in using a timeless black and white photo of passers by in a crowded space.


Kraftwerk – Autobahn (UK issue)
Frank – When I was younger, I would flick through my dad’s records (I still do) and this one would always stand out  (it still does). It just looks totally alien compared to all of the others! And sounds alien too, which is why I loved playing it. This is exactly the kind of art that I’m into, too. Autobahn is also a great example of cover art getting me interested in art art.


Yasuaki Shimizu – Kakashi
Frank – This cover is so intense – such a weird mix of playfulness, sadness and madness. The red is so definite but the painting is so vague. The cover is just like the music on this album – obviously amazing, but impossible to explain why if you try to think about it. Kakashi is another I would love to see on 12 inches – one of those albums I found about on the internet (full albums on YouTube always have more great full albums in the related section), and I’ve only ever experienced the artwork on a screen.


Joy Division – Closer
Ben – It’s difficult to separate the artwork from the context of the album’s release and the photograph’s startling portentousness. However, as its own perfectly framed composition, Closer’s cover art equals the record in both its disquiet and its harrowing beauty.


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