The cover for the third single “Stay With Me” cements the vinyl theme with clear aging around the LP while sitting in a field of flowers. See if you can offer yourself a kind word once a day for 7 days. In hindsight, the art for the lead single “Potion” is now obviously a vinyl, but the square format at first glance looked superimposed upon a seascape. Sure, its the title of songs by The Bee Gees and Calvin Harris, but Im honestly. It wasn’t until the art for the second single “New Money” arrived that the vinyl context came into view. Creative directed by Ammolite Inc., the campaign references the era of disco and funk, a main inspiration for Harris, and physically contextualizes the era’s format of music, the vinyl, within a colorful tropical environment. See the album rollout for Calvin Harris’ upcoming album, Funk Wav Bounces Vol. But if not done carefully enough, on a third glimpse it can come across as simply keeping up with a wistful trend. Signaling back to a prior time always acknowledges a level of respect for what came before. Verse 3 If I see a light flashing, could this mean that I’m coming home If I see a man waving, does this mean that I’m not alone If I see a light flashing, could this mean that I’m. Upon a second look, it becomes meta, flattening a once physical musical format into the now one-dimensional digital format. At first glance, it’s immediately nostalgic.
#CALVIN HARRIS VISUALIZE IT SERIES#
Now in the digital age, when a musician’s art resembles an older format of music, it’s met with a series of observations.
It wasn’t until the height of the disco era, that the simplicity of the label became a popular trend and the visual standard for 12” singles and remixes. When the album cover came to be in 1938, the label took a back seat to the cover’s bells and whistles. It’s been around since the time of the phonograph and is what notes the information of the music you’re about to listen to. One could say that the vinyl label is the original album cover, precursing the square format by 30+ years.
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