Pitchfork publicó ayer una historia oral de los cinco EPs de Disco Inferno:

  We wanted to design a bold logo for the band to give them a strong identity from the start. The original symbol dates back to the 1930s and has a simultaneous clarity and ambiguity that complimented their sound. 

We worked with images by the photographer David Spero, who we knew from the Royal College of Art. His landscape photographs were quite unusual for a record sleeve at the time; they were beautiful images of nothingness. The direction of the logo changed with each sleeve to suit the image and echo the idea of sound traveling in different directions. Both the music and art had an ambiguity about them; the band had taken a step into a creative unknown, and the covers reflected this.

 Y si se aburren tanto, pueden leerse también la historia de Pitchfork en n+1:

  One day in early 2010, the internet message board I Love Music began discussing the Pazz and Jop poll, which the Village Voice had recently published on its website. TheVoice has conducted Pazz and Jop annually since 1971. Hundreds of music critics submit lists ranking their favorite albums and singles, and the Voice compiles two master lists identifying the year’s best music. It is the main event in American popular music criticism. On I Love Music, the Pazz and Jop thread chugged slowly along for a few hours. Then Scott Plagenhoef, editor-in- chief of the music website Pitchfork, began posting under the name “scottpl,” and things picked up speed. “11 of the top 13 LPs and five of the top six singles are shared between this and the Pitchfork list,” Plagenhoef wrote. “For what it’s worth.”

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