David Bowie : Está sería la carátula de The Next Day

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Why David Bowie’s new album cover is a masterstroke

So it’s just a white square with text over an old image, is it? Think again – The Next Day’s cover makes you use your mind

Cover story … David Bowie’s The Next Day

This is a RECORD COVER. This writing is the DESIGN upon the record cover. The DESIGN is to help SELL the record. We hope to draw your attention to it and encourage you to pick it up. When you have done that maybe you’ll be persuaded to listen to the music – in this case XTC’s Go 2 album.

The Hipgnosis-designed sleeve for XTC’s Go 2 album is, famously, an essay about the design of the cover itself, and how it is intended as a marketing trick. As the music industry has shifted from analogue to digital, the words have subtly shifted. “This is a CASSETTE COVER” was joined by “This is a COMPACT DISC COVER”.

The digital edition in iTunes? It says “This is a RECORD COVER”. It ought to have said something like: “This is an IMAGE EMBEDDED WITHIN AN BINARY AUDIO FILE.”

I mention it because I think it is one of the titles that illustrates how weirdly our analogue industries represent their products within a digital world. I’ve always said I’ll know that ebooks have come of age when the images on your computer or device to represent them aren’t artificially constrained by the shape that printed books are. There is no need for ebook covers to be tall and thin and hard to fit text on.

The album sleeve that has prompted me to write about this, of course, isDavid Bowie‘s The Next Day. Jonathan Barnbrook has written about his design, and it contains what I think is a beautiful sentence:

“We know it is only an album cover with a white square on it but often in design it can be a long journey to get at something quite simple which works and that simplicity can work on many levels – often the most simple ideas can be the most radical.”

I’ve seen criticism, of course, that you could knock up the final design in five minutes, but the process of getting there is intriguing to me. I can’t think of another artist who has taken one of their own iconic album artworks, and subverted it in this way. It is more usual to recreate the image, as the Beatles did with the 1969 photographs in Manchester Square, which echoed the cover of Please Please Me and which were used for the Red and Blue albums, or as Sir Peter Blake did with a 2010 version of Sgt Pepper.

Another criticism I’ve seen is the harsh contrast between “the fine-grain mono background and harsh ‘paint’ foreground”. Again I think this is an interesting mix of the analogue and digital. Let us not forget that Bowie’s 70s artwork wasn’t perfect in itself. The original UK vinyl issue of Ziggy Stardust featured a horribly obvious ugly cut-and-paste to change the catalogue number from the US edition – the production method encroaching upon design.

Whether this design thinking translates to mass appeal is another matter. Barnbrook says “we worked on hundreds of designs using the concept of obscuring this cover” but admits that “we understand that many would have preferred a nice new picture of Bowie”. The risk for older artists is that new material can never recapture their glory years – and choosing such an odd and aesthetically unappealing final image for The Next Day’s sleeve risks the accusation that the sleeve is as bland as the new material might be.

The fact that I still keep referring to it as a “sleeve” is telling. While there may still be a physical release of the album, many people will this week be listening to lead single Where Are We Now? on devices that represent the “sleeve” as a static image behind glass. There has been precious little innovation in the way that artwork is presented alongside digital records or books. Hack the Cover by Craig Mod was a fascinating essay looking at how to subvert the traditional expectations of the ebook cover, but few artists seem to be exploring similar possibilities with digital music files. Even the fact that most albums feature exactly the same artwork for every track seems a wasted opportunity.

Only time will tell how well the design and the album itself stand up against the rest of Bowie’s impressive catalogue. But wouldn’t it be wonderful if an artist who had spent so many years reinventing his image, helped us to reinvent our expectations of what album covers could be in a digital era?

David Bowie Will Never Perform Live Again

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David Bowie has no intention of playing live ever again despite the imminent release of surprise album The Next Day, says his producer.

Bowie regularly emphasised the point during recording sessions, Tony Visconti reports.

The influential musician astonished the world with the launch of new single Where Are We Now? on his 66th birthday, along with news of the album launch in March.

Last week guitarist Earl Slick admitted he hoped tour dates might be on the cards – but Visconti says Bowie has all but ruled it out.

He tells NME: “He’s fairly adamant he’s never gonna perform live again. One of the guys would say, ‘Boy, how are we gonna do all this live?’ and David said, ‘We’re not’. He made a point of saying that all the time.”

Where Are We Now? was quietly made available on iTunes at midnight on January 8, without any kind of announcement or press release.

Last week Visconti said the single wasn’t representative of the full-length record, describing other tracks as “real rock.” He also shouted down long-standing rumours that Bowie’s health was failing.

Now he tells The Hollywood Reporter: “We had to sign non-disclosure agreements – but that wasn’t necessary. We love David so much. Everyone in the project, except for a few, were old-timers; people who’d made albums or toured with him.

“We didn’t tweet it, put it on Facebook or even tell our best friend. That was the hardest part: people close to me wanted to know what I was working on and I couldn’t tell them.

“I knew if I told one of them, somebody would leak it and it would be all over the world in a day. I didn’t even tell my children what I was doing.”

Bowie decided on the birthday launch strategy several months ago, says Visconti. “The countdown was unbearable. When it was finally released I stared at my computer for 15 minutes until the first person realised it was simply dropped in iTunes.”

The producer says some tracks on The Next Day might be at home on classic album Scary Monsters, while others match the feeling of Heathen.

And he hopes Bowie’s work might shake up the current music environment, which he describes as unimpressive.

“It all sounds like it was made by the same person – it’s very computerised,” he argues. “There’s a style and a sound in all these modern records where they’re interchangeable. It could be the same production crew, it could be the same singer. Everybody is AutoTuned to death and the songs are very flimsy. It all relies on beats rather than quality lyrics.

“These days, if a kid gets a new laptop and there’s GarageBand on it, within five minutes they sound like somebody on the radio. This can’t be good – it’s either the radio is bland or people have lower expectations.”

Like Slick, Visconti admits the decision to lead the album with Where Are We Now? surprised him.

But he says: “I should know better. Bowie is never traditional; he always breaks the rules.

BOWIE VISCONTI CUCHO PEÑALOZA

 David Bowie and producer Tony Visconti 2002 ..

“I think he understood immediately – before I even did – that people had to deal with the shock that he was back. That in itself is news breaking. So he was easing people in with a slow ballad.

“I’m just theorising here, but it’s very nostalgic about the Berlin period; especially in the video, where there are some vintage shots of Berlin in the 70s.

“It made me almost cry – I did weep, actually, I’ll confess. The first time I saw it, I got so choked up because I had been in those places with him.

“But it’s more about being at a certain place in your life, where everything was really good and happening. I think that evokes nostalgic feelings in people. That’s definitely the theme of the video, having so much vintage footage in it.”

 

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I DONT BELEIVE THIS, HOPE IS  MARKETING THING OF THE THIN WHITE DUKE

 

 

DAVID BOWIE : Aparece foto oficial después de una década

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Bowie lanzó el día de su cumpleaños 66 un tema después de una década y dicho tema “Where are we Now” entró número 6 a las listas del Reino Unido.

Bowie no gozaba de un top 10 hace dos décadas .

El Camaleón ha regresado con fuerza y promete no hacer gira ni entrevistas, se verá …


Otro Link para la nueva canción de Bowie .. https://zicoydelia.wordpress.com/2013/01/13/david-bowie-first-uk-top-10-single-in-two-decades/

David Bowie first UK Top 10 single in two decades

‘Where Are We Now?’ enters the Official UK Singles Chart at Number Six

David Bowie secures first UK Top 10 single in two decades

David Bowie secures his first official UK Top 10 single in over two decades with ‘Where Are We Now?’.


The comeback track, which has finished the week at Number Six, is the first to be taken from his forthcoming new album ‘The Next Day’ and sold 30,000 copies in the five day’s since it’s surprise release. It’s his first Top 10 hit since 1986’s ‘Absolute Beginners’, reports.

There had been reports that the track would not be eligible for chart placement as it is linked to an “instant grat” promotion where fans pre-ordering the album received the song as an immediate download – a UK music industry agreement prevents “instant grat” downloads from being counted.

However, the Official Charts Company were able to determine which downloads were purchased out-right by fans – and not part of a pre-order bundle – which allowed Bowie his first Top 10 chart placement in over 25 years.

Meanwhile, Britney Spears and Will.i.am are Number One with ‘Scream & Shout’, Taylor Swift’s ‘I Knew You Were Trouble’ is at Number Two, James Arthur’s ‘Impossible’ is down two places to Number Three and Rihanna’s ‘Stay’ is at Number Four. Calvin Harris completes the Top 5 with ‘Drinking From The Bottle’.

In the Official UK Album Chart, following on from a raft of Brit nominations, Emeli Sande remains Number One with ‘Our Version Of Events’, Calvin Harris’ ’18 Months’ is at Number Two, Jake Bugg‘s self-titled debut is at Number Three and Rihanna’s ‘Unapologetic’ is at four. The Les Miserables film soundtrack is at Number Five.

JUST GREAT FOR US, BOWIE FANS ..

David Bowie worked in Secret on Comeback LP For Two Years

David Bowie Worked in Secret on Comeback LP For Two Years

Tony Visconti ( producer ) says ‘The Next Day’ is ‘quite a rock album’

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David Bowie shocked the world yesterday by releasing the mournful single “Where Are We Now?” and announcing that a new album called The Next Day – his first LP in a decade – would hit stores in March. Bowie has yet to talk publicly about his comeback, but his longtime producer Tony Visconti told the BBC that they’d been working in secret on the disc for two years.

“I’ve been listening to this on headphones, walking through the streets of New York, for the past two years,” Visconti said. “I have not tired of a single song. I think the material on this album is extremely strong and beautiful. If people are looking for classic Bowie, they’ll find that on this album. If they’re looking for innovative Bowie, some new directions, they’ll find that on this album too.”

David Bowie Returns With First New Music in 10 Years

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Visconti was surprised that Bowie selected the downcast “Where Are We Now?” as the leadoff single. “It’s a very reflective track for David,” he says. “Maybe the only track on the album that goes this much inward for him. It’s quite a rock album, the rest of the songs, so I thought to myself: ‘Why is David coming out with this very slow, albeit beautiful ballad? Why is he doing this? He could come out with a bang.’ I think the next thing you hear from him is going to be quite different.”

Bowie and Visconti first joined forces in 1970 on The Man Who Sold the World. They worked together on many of Bowie’s most enduring albums, including Low, Heroes, Lodger and Scary Monsters. After a long break they re-teamed in the early 2000s for Heathen and Reality.

They worked on the new album at a very slow pace. “We never spent more than two to three weeks at a time recording,” Visconti said. “And then we’d take off as much as two months. We’d usually work on one or two songs in an afternoon and we’d whip them up to shape where they’d sound like great rock tracks. At that point there wouldn’t be any final vocals or lyrics. This is the same way I’d been working with him since The Man Who Sold the World. He hasn’t really changed in his approach.”

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Bowie’s 2004 tour was cut short when the singer underwent emergency heart surgery for a blocked artery. Rumors spread that Bowie’s long absence from the music scene was related to health problems, but Visconti says that isn’t the case. “He’s a very healthy man,” the producer says. “I assure you. I’ve been saying this for the past few years. I couldn’t explain how I know that, but I worked with a very healthy David Bowie in the studio and a very happy David Bowie in the studio.”

The Next Day hits stores in early March. It’s unclear whether or not Bowie will support the disc with a tour.

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Tony Visconti and David Bowie ten years ago …

David Bowie : Gran análisis de su nueva canción por su biógrafo

Analysis

David Bowie, pictured in 2003
Paul Trynka  Author, David Bowie – 

David Bowie has confounded expectations countless times since he shot into public consciousness with Space Oddity. Now, after a retirement that seemed worryingly permanent, he surprises once more with a new sentiment: Nostalgia.

Released on his 66th birthday, his first new song in almost exactly 10 years is filled with imagery of Berlin, the city to which he disappeared in 1976 to record his most enduringly influential albums, including the electronic masterpiece, Low.

Where Are We Now reunites Bowie with producer Tony Visconti, a key figure on Low, but where their 70s collaborations were angular, harsh, forward-looking, this new single is reflective, sweeter in tone – yet also haunting and full of doubt.

The lyrics directly reference Bowie’s Berlin haunts: The KaDeWe department store where he shopped, the Dschungel club where he hung out with wildchild artist Martin Kippenberger, and the apartment on Haupstrasse which he shared with fellow rock’n’roll refugee Iggy Pop. The tone is downbeat, the melody dark, until finally he evokes the fall of the Berlin wall in 1989. This was a barrier few thought could be crossed – now Bowie addresses his own unthinkable barrier, the gulf between the ambitious 30 year old, and the reflective senior citizen.

Age, mortality, has certainly mellowed him; the recording is lush, perhaps conventional, reminiscent of Heathen and Reality, albums Bowie recorded with Visconti just before the heart attack which forced him to abandon a world tour in June 2004.

The recent flurry of excitement around the re-release of Ziggy Stardust reminded us of Bowie the ambitious young buck, intent on making his mark. Where Are We Now? is a haunting depiction of the doubt that always lay behind that youthful arrogance; today he might be older, damaged, but he has the confidence of a man with nothing to prove.

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Best Bowie book ever written by Paul Trynka