Bleak and unsettling, David Lynch’s film Eraserhead certainly has a soundtrack to match. New York’s Sacred Bones is behind the design and release of a new deluxe edition of the recording, which remains something of an industrial classic…
The reissued LP edition is designed by the label’s own Sacred Bones Design and includes a 16-page booklet filled with imagery from the film, three 11″ x 11″ prints, and a limited edition Peter Ivers 7″ recording of the soundtrack’s most recognisable (and covered) track, In Heaven, presented with a newly unearthed Ivers recording taken from the original soundtrack audio tapes.
Featuring throughout the recording is Alan Splet’s sound design which matched the claustrophobic, nightmarish quality of Lynch’s late 70s vision, blending noise with piano and organ, and a little bit more noise.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print
The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as a member of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and much more. Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival, and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.
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