TypoLyrics: The Sound of Fonts 9783034611220, 9783034603669

Table of contents :
Introduction
Foreword: Max Dax
Interviews: Stylorouge
Dirk Rudolph
Invisible Creature
Comment: Frank Wiedemann
Geometric
Blackletter
Sans Serif
Script
Signs/Symbols/Ornaments
Monospace/Typewriter
Serif
Stencil
Matrix/Computer Based
Western
Slab Serif
Appendix
Index
Overview Fonts

Citation preview

TypoLyrics The Sound of Fonts

Edited by Slanted Birkhäuser Basel

Lettering informs, shapes and can change things. Typography is visual – does music also have a visual identity? What form does it take when it is put to paper?

Typo

Introduction 6 — 16

Foreword: Max Dax 6 — 7. Interviews: Stylorouge 8 — 9, Dirk Rudolph 10 — 13, Invisible Creature 14 — 15. Comment: Frank Wiedemann 16.

Geometric 17 — 32, Blackletter 33 — 48, Sans Serif 49 — 64, Script 65 — 80, Signs/Symbols/Ornaments 81 — 96, Monospace/Typewriter 97 — 112, Serif 113 — 128, Stencil 129 — 144, Matrix/Computer Based 145 — 160, Western 161 — 176, Slab Serif 177 — 192 Appendix 193 — 206

Index 193 — 195, Overview Fonts 196 — 206

The TypoLyrics section of Slanted magazine is an experiment in bringing together song texts and typography to create a visual. This book compiles more than 170 such contributions, produced especially for it by an equal number of graphic designers and type designers. In eleven chapters, musical genres from classical to punk are juxtaposed with common genres of type and contemporary font designs. These combinations offer the designers challenges beyond personal taste and visual preferences. The results are fascinating, representing a collection of unique design experiments between sound and fonts. Slanted is a print magazine and a weblog about typography.

Lyrics

Introduction 6 — 16

Foreword: Max Dax 6 — 7. Interviews: Stylorouge 8 — 9, Dirk Rudolph 10 — 13, Invisible Creature 14 — 15. Comment: Frank Wiedemann 16.

New Wave/Disco 17 — 32, Metal 33 — 48, Pop 49 — 64, Chanson/Folk 65 — 80, Rock ’n’ Roll/Swing 81 — 96, Krautrock 97 — 112, Classic 113 — 128, Punk 129 — 144, Techno 145 — 160, Country 161 — 176, Hip Hop 177 — 192 Appendix 193 — 206

Index 193 — 195, Overview Fonts 196 — 206

6

Foreword

What Is Typography? Max Dax, born in 1969, is a journalist, graphic designer and photographer. Prior to becoming editor-in-chief of Spex, he was art director of the Berlin-based graphic design agency Minus and publisher of the interview magazine Alert. Max Dax’s most recent publications include the book 30 Gespräche (Edition Suhrkamp), the book of photographs Palermo: La città e la musica and the compilation CD ‘Invisible Republic: Songs That Influenced Bob Dylan’ (Repertoire Records). W dissonanz.spex.de

When New Order released their first album, ‘Movement’, in 1981, the band felt precisely the pressure described by the phrase ‘You never get a second chance to make a first impression’. Ian Curtis, the lead singer of their previous band, Joy Division, had committed suicide in May of the year before. So what would happen? The remaining members of the band famously offered the only correct answer. Musically, they changed directions, and they filled the cover of their album — that more or less white screen onto which an artist projects his or her image — with typography.

they just placed them discreetly in the background. Everything changed completely in the 1990s, with the rise of Techno and the DJ culture associated with it. Even today, it largely sees itself as a counterculture to the star system, lending a new function to the album cover. Recalling Saville’s works for New Order, entire generations of graphic designers – above all the designers of 12 inches on the Berlin-based label Tresor – ‘hid’ behind minimal typographic solutions with the goal of anonymity. Always according to the credo: the more Helvetica, the better.

The cover of ‘Movement’ is the prototypical all-typography pop album. No other record cover has ever conveyed as much subtext as this design by Factory’s head graphic artist, Peter Saville, for the debut album of a band at a crossroads. The cover alluded, of course, to the typographic conception of the Italian Futurists, who had been called into being by Filippo Tommaso Marinetti’s manifesto of 1909 and were promoted to state artists under Mussolini. Above all, however, the band remained intangible behind the camouflage of chutzpah, feigned fascism and dispensing with images. As it happened, New Order derived its further strategy from this cover: no interviews, contradictory statements, a total refusal to communicate. There had, of course, been artists before who hid behind typography on their album covers, but Peter Saville’s timelessly elegant and yet highly encoded design set a radical standard against which every cover has to measure itself today.

For the graphic designer, using typography to produce visual branding for a band, an artist or a DJ – or, conversely, causing the object of desire to disappear behind the letters, but then again that too is a form of branding – only opens up a narrow corridor. But anyone who considers limitations and hurdles to be a shortcoming is making a fundamental mistake. Such alleged enemies of a free design are still the invisible parameters that make a cover ‘legible’. It does not benefit a magazine to begin suddenly typesetting it like a book, because then it is no longer competing with other magazines but rather with books. The same is true of using typography on album covers.

Interestingly, it was not evident from the Futurist typography exhibited on the cover of ‘Movement’ just what kind of a musical trans­formation the band had undergone. This set New Order apart from most of the bands of their time. Just to recall: Metal bands could always be recognized by their intimidating Gothic type, for example. For decades, jazz followed the ‘standards’ set by labels such as Blue Note and Prestige, even on issues like how to typeset the liner notes on the back of the album. In Metal, it took nearly half a century before Metallica, a band courted by pop hipsters, broke with the dogma of the cheap shock for the cover of their ‘Black Album’, although even then they were not prepared to go without a typeface with barbs on the letters –

In 2000, as Art Director of the Minus design agency in Berlin, I was confronted with the question of how to design a record cover suitable for folk music of explicit content by ’Ndranghetà, a crime syndicate in Calabria. These were the parameters imposed: most of the music dated from the 1960s, but the original artwork could not be found. The music had long been sold in the rectangular format of cassettes, and hence could not be adapted one to one to a square album cover. We decided to dispense with a lurid design using crime to attract buyers. Ultimately we chose a restrained documentary photograph by Francesco Sbano, showing policemen carrying a coffin. We countered it with Trade Gothic, a font that had been used in the 1960s, the era of the music. The hurdle we set ourselves led to the goal. Any designer from the 1960s would have had to be able to design our cover in two or three steps. The effect was striking. The photograph and lettering conveyed the desired impression that the record was a re-release and not a new product.

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8

Interview

Stylorouge Stylorouge is a London-based creative consultancy founded in 1981. The company has established itself as a leading exponent of design, with particular experience in the music business. Their early work for artists such as Blur, Tears For Fears, Squeeze, Maxi Priest, Simple Minds, Alison Moyet and George Michael has earned them a reputation throughout the world. We would like to thank Mark Higenbottam, Senior Designer / Art Director for his answers. Q Jan Kiesswetter W stylorouge.com

Mark, you have been working in the tough music business for nearly thirty years — maybe longer than some of your clients. To what do you attribute this success? At Stylorouge we always seek out new talent, we always stay fresh, balancing the weight of experience with raw new ideas. It is a team effort, plus the fact that we always try to stay ahead of things by embracing new technology and adapting to new formats. In an ever evolving industry it’s important to move with the times. At Stylorouge, you are surrounded by a team of eight — how do you distribute the workloads? Are personal music preferences important or are you able to distance yourself from them while working with an artist or a band? We have to be able to dissociate, we are all music lovers but the brief is more important than the music, obviously it helps if you can really engage with the music as well, but ultimately we have to deliver a great piece of art whatever the musical genre. People can pick a job, it depends on the workload at the time, it’s a democratic process. Sometimes everyone gets involved at the development stage and whichever idea the client goes with, that person gets the job. You create art for artists — besides high expectations of your work, does this mean more creative freedom or rather narrow parameters? It depends on the artist, some allow you complete freedom while others have very strong ideas, sometimes coming from an art background themselves, in which case it is a more of a collaborative process. Either way has its benefits and, as long as we end up with something both parties can be proud of, we feel we have succeeded. Can you estimate the impact of the cover design on the sales figures? Do you receive feedback after the release of a record you worked on besides this information?

It’s very difficult to estimate the impact of the cover on sales, I think that usually the sleeve itself has a fairly low impact but when the campaign as a whole is taken into consideration it is hugely important: the use of the image across the whole campaign, website, point of sale, merchandising, TV commercials etc. The book TypoLyrics is concerned with the graphic identity of sound. Is the music genre you are commissioned to work in a part of the brief or do you try to avoid getting in touch with those learned looks, the expectations in the field of rock, pop, hip hop? We never try to fit into a genre, it is when you leave those expectations behind that the creative process can really evolve. Most of your works don’t look computer-generated, instead they appear organic or used, sometimes offensive or ironic. I often come across elements that symbolize time and transience. Is this a personal style or to prevent you from being lost in the masses? We use all mediums, we don’t confine ourselves to one or another. We will commission illustrators, photographers, fine artists, where necessary, whatever it takes to realize our vision. What role does typography play for you? By what criteria do you choose the appropriate fonts? Typography is crucial, it’s the symbiosis of image and type that can ultimately create something really memorable. The techniques we deploy to make the decisions on which to use come largely down to an educated guess, dependent on the artist and the end use for the artwork. Choosing the right font or typography for a job is pretty much like choosing the right wine for a meal or the right colour to paint your apartment wall. It all depends on what tone of voice, colour of language, subtlety of form or level of legibility is required. There are always the obvious contenders for each typographic problem, but there are also the unexpected solutions which sometimes result in the most effective communication of the intended message.

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Failing the above, endless searching of type websites usually works (in the end). In the field of typography, you often hear of a typical Swiss or Dutch style — is there something British about your work? We employ and work with people from all over the world, always have done, we don’t restrict ourselves to a British palette, we are influenced by many different styles and movements from all over the world. The design of a record plays an important role in how we perceive an artist and his work – have you ever regretted the creation of this personal identity/image for an artist afterwards? We don’t regret anything really, everything is ultimately a learning curve. You have realized several projects for Blur, in many cases the design applies a different, somewhere already existing ‘identity’. One time it looks like condom packaging, another time like a mundane greeting-card illustration. Would you describe this idea as (dynamic) corporate identity? It was very much related to the disposable culture of its time and helped to define the era of ‘Brit Pop’. Our work for Blur surrounded the misappropriation of found imagery; from beer mats, condom packaging, fast food, toothpaste, Rolls-Royce grilles to ceramic plates. Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. They were not interested in a clichéd view of Britishness like the Americans have of us as tea drinking, busby wearing, red bus driving, rotten-teethed individuals, but preferred more intimate things like dog races, British past times and aspirations and this is what we strived to reflect in the graphics. It’s very much not a corporate identity but more about eclectic British EP.

Regarding the Blur covers, the connection between the pop/rock music and the cover-artwork can often be understood just at second glance. With Blur it was important that everything had a strong visual impact in a quirky, quintessentially British manner reacting against everything else at the time. Do you have any white-label records in your personal collection? Yes, particularly from the 1980s.

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Interview

Dirk Rudolph Dirk Rudolph, born in 1964, is a German photographer and graphic designer. Since 1989, he has been designing primarily record packaging for numerous artists both in Germany and abroad. Q Jan Kiesswetter W dirkrudolph.de

Dirk, over the years you have established a name for yourself with lots of great art for album covers and posters. You have already worked for Ich und Ich, Philip Boa, Rammstein, Die Toten Hosen and Bushido — a collection of artists unlikely to be found together on many people’s record shelves. How did you get connected with these artists? In the mid-1980s, I was co-owner with some friends of a small indie record store in Hagen. I was also running a label, whose first releases I designed as well (with the help of Xerox and Letraset). One day, Philip Boa dropped by and asked me if I could design his next cover. I immediately took the photographs for it. And when Boa signed a contract with Polydor a year later, I was once again hired to design it. From then on, it worked like a successful restaurant: those who liked what they ate came back or recommended it to friends. Do you listen to the music for which you are designing while you work? Is it important for a good result that you personally like the music? When they send me the music to listen to it, I do. But liking something or not is too subjective an approach. More important is the expression and independence of the music and the artists. Moreover, often an understanding develops and creative processes get going. That has nothing to do with my personal taste. Finally, a lot of factors always come into play. For Boa’s ‘Copperfield’, for example, the cover would have been very different had I listened more intently to the songs first. But the contrast can be part of the attraction. Teutonic rumblings from one of the largest loudspeakers of its day, and the cover shows the band in a romantic scene on sand dunes by the North Sea. What inspires you? The artist, the lyrics, the melodies or impressions from your surroundings unrelated to the music? Everything I feel in my gut, everything that causes me to look in various directions emotionally. So it’s usually the music that does it. I try to translate things by drawing on my other sources of inspiration.

It can be pictures, art, painting or the pile of rubbish around the corner. In the end, an idea grabs me. Then I formulate it visually. How concrete are your briefings, how free and creative your work with artists? How much time do you spend with the artists? Usually very free. Very few artists or bands have specific visual ideas. There are exceptions, of course. With Tarja, the artist and her management came with an idea that even involved the pages of the booklet. Then my task becomes finding a conceptual framework that brings together the language of the graphics and the visual aesthetic. In general, conversations with the musicians are very revealing, because they can offer a clue to what concerns them at the moment. When discussing his album ‘A Posteriori’, Michael Cretu mentioned the theme of navigation. Doing research in the British Maritime Museum, I came across wonderful nautical instruments, which became part of the art. Another example is Apocalyptica. Eicca mentioned the album title (‘Electrified’) to me on the phone, and I had a vision of a cello filled with electronic components. But even with musicians I have been working with for years, the approach changes constantly. Sometimes the process just takes longer. Then we send approaches back and forth, talk, toss things out and develop them for weeks. There’s no single recipe for my work. I’ll never forget the brainstorming for the cover of Virginia Jetzt’s album ‘Land unter’. Together with the bassist in a mountain cabin in the Swiss Alps. At an altitude of 2,200 metres with temperatures below freezing and no stove. Can good design be achieved democratically? Do you concede to the client’s wishes, even when the design suffers in your view? Democracy doesn’t have to be a bad thing, even in design. Sometimes it helps keep tabs on the graphic designer’s narcissism. But fighting those who want to tone things down can also be exhausting, and sometimes the design suffers noticeably from it. The worst enemy of good graphic design is cowardice, the clients’ lack of courage to abandon well-trodden paths.

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Your covers appear to be very elaborately produced and often feature elements that are not generated by computer. That is, you work with illustrations, various materials, your own typefaces, and even the photographs are then highly abstracted. A path to individuality, to conveying character and emotion? The question answers itself: definitely. How long do such complex assignments take?

Can you say how much influence the design of a cover has on the success of the album? Probably it can’t really be measured. Good art can make you want to own a record. It strengthens ties with the fans and improves the band’s image. If you immediately think of certain images, logos or covers in connection with an artist, then the graphic design did everything right. Pink Floyd without distinctive covers? The White Stripes without black, white, and red or Nirvana without the baby? Joy Division without the illustration on their first cover, etc., etc.

On average, one or two months, but not working on it every day. I can name two exceptions: I worked for a year on Rammstein’s ‘Völkerball’ (making hundreds of proposals); the designs for Aviv Geffen’s album were approved after two days.

Do you design based on your personal feeling and taste or with a deliberate sales orientation and intent to promote?

When you are working for yourself, surely there is a certain risk involved? Have there been projects that did not get finished in the end?

First I have to like it. The goal is always a strong visual identity. I work more emotionally than rationally. The compromises you make for advertising (bigger title, name at the top, band on the cover) tend to come from the clients. I often wish I could let the image ‘speak’ for itself.

In creative processes, everything is possible. You might start out optimistically and then suddenly get stuck, or the first ideas surprise and disturb the client, who might not really have got to know my work beforehand. But that’s very rare. On the whole, I have a relatively high success rate. Who gives you feedback on your work after a record is released? The more successful the project, the more pats on the back you get for your work. The feedback comes from all different directions. Sometimes from friends who liked a cover and ask if it’s one of mine. Sometimes people just send an e-mail out of the blue. Or my wife writes to say she doesn’t like it. And then a product manager who thanks me euphorically for the great work. Sometimes one of the musicians you talk to at a concert much later. And sometimes you don’t hear anything. Oh, and not to forget Die Toten Hosen, who have always sent me a thank-you note and included the CD.

Do you consider your covers ‘one-hit wonders’ or classics? When all is said and done, others should decide that. My only criterion is that a classic often needs a great record as well. It’s only that interplay that makes it a classic. When I can look at my work after ten or fifteen years and still say it was exactly right, then I have really done something. Not all works clear that hurdle. Do you integrate elements into your works with an eye to series or recognition value in order to create a corporate identity? Is that even possible? I have been influenced by LPs. So I still see them as the centre of a campaign and the publication. Consequently, I try to give every cycle its own look and to establish a connection between the individual parts, whether it’s a single, the Internet, the stage, the video. Frequently that doesn’t work as well as I would like.

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Have you ever bought a record because of the cover? Which one, and did the music conform to the look and your expectations?

are either abstracted or censured. Is there a specific intention behind that?

Sure, a number of records from 4AD and Warp Records. With 4AD, the covers were always better than the records, with the exception of the Pixies and maybe Dead Can Dance. With Warp, I was not disappointed, but I almost never listened to the records.

I haven’t really noticed that myself. No, there is no meta-plan behind it. But there is, of course, an appeal to making changes around the eyes, since it throws people off and attracts attention.

How important is typography in your work? For me, the picture is always primary. I don’t think of myself as a typographer. Since I’m self-taught, I was never really introduced to it. I confess that I sometimes regard great type designs and typographic work with considerable enthusiasm and also a little envy. On one poster for Die Toten Hosen you used VAG Rounded. Isn’t that a rather unexpected combination, even though the overall look is harmonious? How do you justify that choice? The poster was derived from the cover of their ‘Zurück zum Glück’ (Back to Happiness) album. VAG Rounded was and still is exactly the right font for the title of the album. Once I used it, everything came together for me. The simple typography leaves the focus of the cover on the image; the curves underscore the ironic title. Some of the band were put off by it at first, and so we tried very ‘punk’ approaches. But none of it was convincing. For a later cover art for Die Toten Hosen, you used the rough look of a stencil type. This corresponds to the familiar look of a punk band. Was the break with VAG too ‘hard’ after all?

Another characteristic feature of your work is the way the (graphic) components capture the dynamism and activity. Sometimes glowing brightly, sometimes shattering like an explosion, sometimes fanned out fractally and then proceeding sluggishly again. What are you trying to illustrate with that? Emotions – also felt when listening to music. It’s about energy. Some of these works are very expressive, if you will. The process of throwing paint against a wall is a little like playing a guitar loud and distorted. I also enjoy giving randomness a chance. You start a work with a specific idea that over time develops in a completely different direction. How do you see the future? Will you continue to design covers, or is the long-term trend toward MPXs without packaging and moving images for mobile phone displays? Who knows whether I live to see the end of physical sound media. In my view, things are evolving in two directions. First, there will be more lavishly produced deluxe packaging, which might cost as much as 30, 40 or 50 euros. Second, at some point music will be available everywhere as a stream. The MP3 download is just a transitional medium (Spotify is showing the way). And of course the Internet will play an increasingly large role in visualizing music.

With the harder motto for the tour — ‘eat or die’ — and the spray-painted pictures, VAG Rounded made no sense at all. It was still used on one or two singles from the album.

You play music yourself. Who would you hire to do the art for your album? What would it have to look like?

One characteristic running through a number of your works struck me: that the faces, especially the area around the eyes,

It’s still nothing much. I would like to do it myself, not because others couldn’t do it, on the contrary, but I would just really enjoy it.

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14

Interview

Invisible Creature Invisible Creature is a graphic design studio based in Seattle. It is run by brothers Don and Ryan Clark, cofounders of Asterik Studio and founder members of the metalcore band Demon Hunter. Invisible Creature has created CD packaging, poster art, web design and merchandise design for artists such as Anberlin, Despised Icon, Kanye West, Korn, Foo Fighters, Underoath and will.i.am. We would like to thank Don Clark for his answers. Q Johannes König W invisiblecreature.com

What were the most important steps in your life? With regard to art, our grandfather (Al Paulsen) was an extremely gifted illustrator for NASA for over thirty years. We grew up fascinated that drawing was his ‘job’ and we wanted one just like it when we grew up. Our parents were also extremely supportive in the formative years and facilitated our love of art every step of the way. You could also say that there have been many important stepping stones in our success. Bricks in the wall, as it were. From playing music to meeting the right people and just plain being in the right place at the right time. We often get asked ‘how did you do it?’ But the answer is always the same — we’ve been fortunate to have some great people in our lives. You run a design agency in Seattle and the metal band Demon Hunter with studio productions and US/European tours. The inevitable question is, of course, how do you find the time and the energy for all this? We started our first design studio in 2001 and Demon Hunter the following year. We obviously had not anticipated the band to take off like it did. The goal was to create a side project for fun — an outlet to play music again. Needless to say, it exploded and we ended up with two extremely busy careers. I actually stepped down from the band last year as my family and duties at Invisible Creature were becoming more of a priority for me. It was a hard decision to make, but a necessary one. The band continues, with Ryan still at the helm — and they are bigger than ever. It’s actually been really fun to sit back and just be a fan of the band – and to cheer Ryan on as he continues. Which came first? Design or music? I guess you could just say art came first. When we were younger, we would sit and draw for hours every day. Only later in life did we come to an understanding of what ‘design’ was as we fully pursued it (albeit with a blindfold on) in the mid-1990s. But professionally, music came first. Ryan was a signed artist at the age of sixteen, myself at twenty-one.

Did your band Demon Hunter have any influence on your design work — did it open or close doors regarding design jobs? It’s funny, they are really pretty separate. Sometimes a client will mention something about the band or a Demon Hunter fan will mention something about our career in art, but the two paths don’t really cross as much as you might think. In Metal, a lot of cover artworks deal with stereotypes. Do some bands insist on this style or are they open to new ideas? It’s no secret that heavy music and bad artwork have gone handin-hand for years — with a few glimmers of hope throughout the ages. We definitely can’t say that we hit a home run each time we work on a project with a heavy band, but the goal is always the same: let’s do something different. Let’s get people talking. Whether or not that happens can rely almost 100 per cent on the band. If they are willing to take a risk, that leaves a pretty wide open door for us. If they want skulls and blood, they are usually better off going with someone else. Most designers don’t like creating their own corporate design. Who designs Demon Hunter? We created the logo at the inception of the band and have handled all of the design duties since, but we usually enjoy letting other folks (like the incredible Dan Seagrave) handle the album cover duties. Is there a difference in working for bands on the one side and companies like Nike or Warner Brothers on the other? Yes, there can be. Besides the budgets, the biggest difference between our music and ‘corporate’ clients is the constant proverbial handshake deals or favour requests. The terms are often casual (which can be a good thing) but can also quickly turn into what I call ‘a bro deal’ and a lack of understanding about our job. That’s not a slam on the industry as a whole, just a real observation.

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Your illustrations often have a handmade style. Do you work analogously or are they a product of digital compositions? For us, illustration will always start out on paper. Whether that’s starting out with rough sketches or all the way to the final line work, it’s an important step. However, it will always end up being produced digitally. Computers are obviously a great tool for us, and as commercial artists, we don’t really have a choice. Do you have the visualisation of a band in mind in the moment you hear their music or is it a long evolving process? Not likely. We have a series of regular questions we ask each band/ client to get a feel for what the album is about, why they chose a specific album title, styles/aesthetics that they lean towards, etc. We obviously prefer to hear the album before we begin, but that is not always an option. It’s definitely a process, but one that can be completed in a single phone call or meeting. Where do you find inspiration? My children inspire me more than anything these days, but I’m also a lover/collector of old things. Books, toys, animation, albums, furniture, houses, automobiles, clothing ... you name it. If it was created fifty or more years ago, it’s most likely pretty cool in my opinion. What parts of your work do you enjoy most and what parts do you wish you didn’t have to deal with? Making a career out of doing what I love would obviously be what I enjoy the most. The menial tasks and business aspects are not as glamorous and would be my choice of things I didn’t have to deal with. But like any small design team or freelance artist, those aspects are just part of the deal.

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Comment

Frank Wiedemann Frank Wiedemann (b. 1973) is a musician (in the groups âme and A Critical Mass, among others) and a co-owner of the Berlin record label Innervisions. He was a freelance graphic designer in Karlsruhe for many years and a member of zwoelf, a cooperative of graphic artists, product designers, mediadesigners and architects. W innercityvisions.com

A couple of weeks ago, while enjoying a cup of excellent coffee and a variety of Italian biscuits, Lars Harmsen asked me if I would like to collaborate with him on a book project. I was of course honoured, at first. Who wouldn’t be? Although I am aware that there are indeed people less suited for this task than I am, given its scope I have to ask if I am really the right person. After all, the task is nothing less than identifying ten essential songs from around eleven different musical styles! Fine, my music shelves contain several thousand records and CDs. That gives me a certain preparation, but it in no way makes me a ‘universal connoisseur’ of all styles. However, the task was so appeal­ ing that I couldn’t turn it down. So I had no choice but to comb through not only my collection but also my memories, to ask various friends for advice and to research the relevant media as best I could. For some styles such as New Wave, it was relatively easy to compile an appropriate list. Because my roots are mainly in instrumental music, and Krautrock and Techno are known primarily for instrumental works, I had some difficulties, but also some amusing moments. After recently reading a very interesting interview with H. P. Baxter, and learning about the deeper meaning of his lyrics, the search for Techno inevitably began with ‘Hyper Hyper’. Browsing my hip-hop collection, which was a rather strenuous task owing to its elevated location on my shelves, was a pleasant way to spend a few hours. Suddenly I had a long forgotten pearl of the genre in my hands: Ice-T’s ‘Power’ album, with its unforgettable cover in the ‘wild boys, weapons and women’ genre. In short, we (my records and I) had a great time doing it and, as I can see while enjoying another cup of good black coffee, so did all the graphic artists involved.

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TYPO Bartok

LYRICS Thieves Like Us, Drugs in My Body

by Frédéric Tacer

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TYPO Beans

LYRICS The Human League, Being Boiled

by Charles Grant

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TYPO Anti

LYRICS Röyksopp feat. Robyn, The Girl and the Robot

by Lars Herzig

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TYPO Papercut

LYRICS Joy Division, Love Will Tear Us Apart

by Pierre Nguyen

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T AT S H EN T E A IN RT ME N T A P L C I

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TYPO Swollen/Knocker

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LYRICS The Jam, That’s Entertainment

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TYPO Rotor

LYRICS Dead or Alive, You Spin Me Round

by Yvonne Bayer

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TYPO Type the Sky

LYRICS The Style Council, Shout to the Top

by Lisa Rienermann

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TYPO Statistic

LYRICS Visage, Fade to Grey

by Anthony Dart

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TYPO Geomi

LYRICS Gary Numan, Cars

by Kristina Klinkmüller

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TYPO PYROugh

LYRICS Zoot Woman, Living in a Magazine

by Daniel Bär

27

TYPO Danke Kurt

LYRICS Anne Clark, Sleeper in Metropolis

by Giuseppe Vitucci

28

TYPO Quoten

LYRICS Talking Heads, Psycho Killer

by Dennis Melskotte

29

TYPO Matryoshka

LYRICS Devo, Secret Agent Man

by Clemens Hartmann

30

TYPO Alphafont

LYRICS Ultravox, Vienna

by Matt W. Moore

Me babe, steppin out Into the

nIght

lIg

You babe, steppin out the Into Into the night Into the

lIght

to the otheR SIDe

31

TYPO CA Kink

LYRICS Joe Jackson, Steppin’ Out

by Thomas Schostok

32

TYPO Dreiecke

LYRICS Duran Duran, Rio

by Alexander Lis

God of Thunder Who crack the sky Swing your Hammer Way up high In chariot o gold Ride across the clouds The black storm is unfold Burning mist is but a shroud Seeds and honey Milk and blood A Sacrifice To Thunder God Laid in ship of Oak On final sail to fate Steel is at side Drifting to the open Gates of Valhalla Shields of gold Valhalla Great warriors hall I swing my sword in the wind Iyour feel the powers all within Valhalla God of Thunder Lightning rain The Winds of Glory Whispers name Pounding pounding Of hooves and wheels Forks of lightning At your heels Sword of steel Held up high Lightning strikes From blackened skies Fallen heroes In Battle slain Awaits my arrival At the gates of Valhalla Shields of gold Valhalla Great warriors hall I raise my fist to the Air In the creed of powers and glory swear [Repeat chorus] (I swing my sword in the wind Ipowers feel the all within) [Repeat chorus] (I raise my fist to the Air In the creed of powers andla...) glory(Valhalswear) Bathory: „Valhalla“, The Complete Lyrics [Aeronaut 170 pt, 4 pt line spacing, 50 pt character spacing]

Typolyrics-210x280-Print.indd 1

33

TYPO Aeronaut

LYRICS Bathory, Valhalla

by Georg Herold-Wildfellner

22.03.2010 11:33:50 Uhr

34

TYPO Frakturbo

LYRICS Archive, Fuck You

by Fons Hickmann m23

35

TYPO SAR Lupo

LYRICS Pantera, The Great Southern Trendkill

by Niko Singer

36

TyPO Givry

LyRICS Dimmu borgir, The Serpentine Offering

by Michael Fetz

Sacred Reich Death Squad

 Putting to dead those who oppose you    Will take control, no matter the cost   Bodies are mounting the carnage around you   At the last count, 10.000 have died      Taken by force    Controlled by fear   Death squad police of the right   Must stamp out subversion    Dissention, unrest   Those who oppose will meet death      Automatic weapons in hand   You say you're what the police want    Why must you kill them to secure their vote   Death squad escort them to the polls           — 

Typolirics_Metalista.indd 1

37

TYPO Metalista

LYRICS Sacred Reich, Death Squad

by Tomáš Brousil

      Puppet regime with you at the head   You've rid them of a communist threat   Your brand of "democracy" is now in control    And all of your people lie dead      Taken by force   Controlled by fear   Death squad police of the right    Must stamp out subversion   Dissention, unrest    Those who oppose will meet death     "Democracy" at any cost    The methods of freedom unclear   Right-wing radicals, abusing control    The choice will be democracy of death      

30.3.10 11:09

OPM TypoLyric DEF.indd 1

38

TYPO Wyber

LYRICS Down, Lifer

by Sander Schinkel

26-03-2010 11:26:59

39

TYPO Authentic Ink

LYRICS Morbid Angel, Immortal Rites

by Susan Meinen

Typolyrics_Anton_Studer_02.indd 2

40

TYPO Frank Bold

LYRICS Metallica, Master of Puppets

by Anton Studer

21.03.10 00:36

Slit throat holocaust, Dark‘s the day of pentecost Waiting for the ships to turn the tideBlack fiend, treachery, he numbers fall, you wear thirteen Pray the demons cannot kill the light Killed dead, splitting head, making sure the lion’s fedHanging by a thread that holds your life Pain King, suffering; walk on through the acid ring Imprisoned but your hands are still untied the fool’s religion unprophet’s truth live self �struction bad luck’s your noose Sin, sex, bad intent, making sure the money‘s spent Watching as your dollars turn to dimes Death tax, broken backs, ‚time has come to wield the axe Paying for the check and all your crime

41

TyPO Lex

LyRICS High on Fire, Fury Whip

by Holger Königsdörfer

42

TYPO Adso

LYRICS Nine Inch Nails, The Hand That Feeds

by Bruno Bernard

43

TYPO Adhesive Seven

LYRICS Motörhead, Ace of Spades

by Roland Hörmann, Felix Auer

Die

, die, die my darling Don’t utter a single word Die, die, die my darling Just shut your pretty

mouth

I’ll be seeing you

again

Typeface TAÜLL. Design: Andreu Balius. Ilustrations: Cinta Fosch

I’ll be seeing you

I’ll be seeing you

Shut your pretty mou

again

again

�

th

I’ll be seeing you

in Hell arling

Die, die, die my d

44

TyPO Taüll

LyRICS The Misfits, Die, Die My Darling

by Andreu balius, Cinta Fosch

P

eople think I’m insane because I am frowning all the time • Think I’ll lose my mind if I don’t find something to pacify • Can you help me, occupy my brain? {Black Sabbath, 1970}

Paranoid_BaroqueText.indd 2

45

TyPO baroque Text

LyRICS black Sabbath, Paranoid

by Joe Newton

3/30/10 5:59 PM

46

TYPO Trigot

LYRICS Devildriver, Clouds Over California

by Michael Hübner

C

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47

TyPO Freiheit

LyRICS AC/DC, Highway to Hell

by Otto Maurer

48

TYPO Hunstruct Tall

LYRICS The Dillinger Escape Plan, Sunshine the Werewolf

by Chris Steurer

49

TYPO Theinhardt Pro

LYRICS The Crystals, Da Doo Ron Ron

by Vincent Sahli

50

TYPO Bree

LYRICS ABBA, Dancing Queen

by Paula Troxler

51

TYPO Replica

LYRICS Pink Floyd, Another Brick in the Wall

by NORM

52

TYPO PTL Roletta Sans

LYRICS Lady Gaga feat. Beyonce, Telephone

by Andrea Tinnes

53

TYPO Planeta

LYRICS The Beatles, Hard Day’s Night

by DKGD

54

TYPO Meadow Pro

LYRICS The Police, DeDoDoDo DeDaDaDa

by Göran Söderström

F S O D R R W A CKWARD A ESQU R UND

DSFOR ARDSBAC W AR ARE QUND U

F S O D R R W C A BA KW S RES ARO

DSFOR AR RDS W A B KW QUA S O R

55

TYPO Suisse BP Sans

LYRICS Yardbirds, Over Under Sideways Down

by MAINSTUDIO

If you wanna have a good time just give me a call

56

TYPO STM Montreal

LYRICS Queen, Don’t Stop Me Now

by Base

57

TYPO Stag Rounded

LYRICS The Beach Boys, Good Vibrations

by Marcel Häusler

58

TYPO Vidange

LYRICS Village People, YMCA

by Jack Usine

It Don’t Matter if You’re black or

white

59

TYPO OurType Sansa

LYRICS Michael Jackson, Black or White

by Corina Cotorobai

60

TYPO Parka

LYRICS Take That, Back for Good

by Daniel Perraudin

61

TYPO Klimax

LYRICS George Michael, Father Figure

by Ondrej Jób

62

TYPO Gustan Thin

LYRICS Madonna, Vogue

by Greg Lindy

63

TYPO Gemma

LYRICS Aqua, Barbie Girl

by Rob Keller

64

TYPO Brauer Neue

LYRICS Manfred Mann’s Earth Band, Blinded by the Light

by Philippe Desarzens

65

TYPO Aphrodite Slim

LYRICS David Bowie, The Man Who Sold the World

by Sabrina M. Lopez, Maximiliano R. Sproviero

ha e v ti L t o al he fng er l th ow er y W e ow e s ge allhen wfill thg gia Loone one?the youtnime eve e ? Long ey er n h ? Gong W e timen will thg Whry o ha n L r n y o e passin eve re ar ere gr onng tifor sold s he le go r e i e m leaave Wh e passing Wever e a rn?yarden will they g tim s gone? Lon

al e s m l th si s goenpasLon g e go e? oun e g rls verne? Y Wh e r o Wgonele?aLronn?g timthe y e h lea here have alll the go ve Wave rn? Wh en wil en n? ti W? a hen all the young mear g er heWh ll th will they ever l LonWhne? r e en e soldi s gone? rn? go e r w h a ill th er lea ds v e all tehye egvraveyar

W n foweerr g g timWh go n Gi e a ked r p wirls pic eve ha e yo as ll they re o n ve ungsing Whene? Gavee mWhe? Lr lea girls goere h er W i e e en on rtni ? eWahgo Wahrn?sold? L e Go haago wilg l thm ey ever l the ne n n e ve aWhere have all s go he w it ll the g veyard e W h f owerrsaevery on

he s gre e? e W havoenall th here have e lea em n av o v y e r v e ne e a rn? W ere h irl haall to yll the yhoung vgerye? e e on on e o erherve athe youung men g g o n ve n e e n m l g n s g e th s o w n g h a l the e m ill g on ve young ldier rds ll ev thetimee? Goall the so veya ve a ey y e passne to grare ha ll th ver ing Whe wi learn? When

66

TYPO Memoriam Pro

LYRICS Joan Baez, Where Have All the Flowers Gone

by Susanne Burri, Stefanie Preis

67

TYPO Semilla

LYRICS Melanie, Lay Down (Candles in the Rain)

by Nora Gummert-Hauser

l a y d o w n l a y d o w n l a y i t a l l d o w n l e t y o u r � h i t e b i r d s s m i l e a t � h � o n e s t a n � a n d f r o w n l a y d o w n l a y d o w n l a y i t a � � d o w � b i r d s s m i l e l e t y o u r w h � t e a t t h e o � e s w h o s t a n � a n d f r o w n w e w e r e s o � l o s e t � e r e � � s n w e b l e d i n s i d e è a c h o t � e r s w o u n d � w e a l l h a d c a u � h t t h e � a m e d i s � a � e a n d w e a l l s a n g t h e s o n g s o f p e a c e l a y d o w n l a y d o w n l a y i t a l l d o w n l e t � o u r � h i t e b i r � s � � i l e a � t h e o � e s s t a n d a n d f r o w n l a y � o w n l a y � o w � l a y i t a l l d o w n l e t � o u r w h i t � b i r d s s m i l e a t t h e o n e s w h o s t a n d a n d f r o w n s o r a i s e c a n d l e s h i g h c a u s e i f y o u d o n t w e c o u l d s t a y b l a c k � g a i n s t t h e n i � h � o � r a i s � t h e m h i g h e r a � a i n a n � i f y o u d o w e c o u � d s t a � d � � a g a i n s � t � e r a i n l a y d o w n l a � d o w n l a � d o w n l e t y o u r w h i t e b i r d s s m i l e a t t h e o n e s � � o s t a � � a n d � r o w n l � y d o w � l a � d o w n l � y i t a l � d o w � l e t y o � � � � i t b i r � � � m i l � a t � h e o n e s w h o s t a n � a n � � r o w � w e � e r e � o c l o s e t h e r e w a � n o � o o � w e � a m e t o k e e p t h e d a r k � w a � s o r a i s e h i g � c a u � e i � � o � d o n t w e c o � l � s t a y b l � c � a � a i n � � t h � s � � o h r a i s e t h e m h i g h e r a g a i n a n d i f y o u d o � e c o u l d s t a y d r � � g a i n s t t h e r � i n l a y d o w n l � � d o � � l a y i t a l l � o w � l e � y o � r w h i t e b i r d s s m i l e a t � � e o n e � w � o s t a n f r o w n l a y d o w � � � y d o � � l a y i t � � � d o w n l e t y o u r w h i � e b i r d � s � i l e a t � h e o n e s w h o s t a n d a n d � r o � n l a y d o w � l � y i t a l l d o w n l e t y o u r w � i t e b i r d s s m i l e a t t h � o � e � w h o s t � n a n d � r o � n l a y d o w n l a � d o w n l a y i t a l l l e t y o u r w h i t e b i r d s s m i l e a t t h e o n e s w h o s t a n d a n d f r o w n o

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68

TYPO Radio

LYRICS Leonard Cohen, Suzanne

by Magnus Rakeng

69

TYPO Maline

LYRICS Bob Dylan, Dignity

by Florent Courtaigne

tu va et t u entre viens s... tu mes rein entrteu va et viens s... mes rein et te rejoje ins

ssue I s n a S Est e u q i s y Ph r u o m L’A 70

TYPO Serena

LYRICS Serge Gainsbourg, Je t’aime  ... moi non plus

by Franzi Kahle

Stan

71

TYPO Adios Script

LYRICS Paul Simon, 50 Ways to Leave Your Lover

by Alejandro Paul

…Somewhere a king has no wife and the wind, it cries Mary.

72

TYPO Kalico

LYRICS Jimi Hendrix, The Wind Cries Mary

by Richard Miller

I hate to wake you up to say goodbye Every p Every lace I go, Hold me like you‘ll never let me go. song I I thin k of y sing, I ou sing f or you

I ‘m leavin‘ on a jet plane

I don‘t know when I‘ll be back again

I , e b a b , Oh 73

TYPO Libelle Pro

. o g o t e t ha

LYRICS Peter, Paul and Mary, Leaving on a Jet Plane

by Jovica Veljović

74

TYPO Conni Pro

LYRICS Édith Piaf, Non, je ne regrette rien

by Christina Poth

75

TYPO Quijote Sauvage Pro

LYRICS Pete Seeger, We Shall Overcome

by Maximiliano R. Sproviero

76

TYPO Suomi Script

LYRICS Joni Mitchell, California

by Tomi Haaparanta

L

....................... Toi, petit, que tes parents Ont laissé seul sur la terre Petit oiseau sans lumière, sans printemps Dans ta veste de drap blanc Il fait froid comme en Bohème .......................

77

TYPO Siren Script Pro

L

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LYRICS Gilbert Bécaud, L’Important c’est la Rose

c

by Gabriela Unseld

78

TYPO Jeanne’s Script

LYRICS Marianne Faithfull, As Tears Go By

by Rebecca Egger

a horse with no name

79

TyPO St Lorie

LyRICS America, A Horse with No Name

by Jill Wentz

80

TYPO Susa

LYRICS Van Morrison, Brown Eyed Girl

by s—w

81

TYPO The Antiqua Ornaments

LYRICS Bill Haley, See You Later Alligator

by Elena Albertoni

CeA CeA CeA CeA CeA CeA fEbDfE BfDfEcDfEcDfEcDfEcDfEcDfEcDa FeCaFe bCdFeCdFeCdFeCdFeCdFeCdFeCdD CcDfEcDfEcDfEcDfEcDfEcDfEcDd fEbDfE cCdFeCdFeCdFeCdFeCdFeCdFeCdD FeCaFe CcDfEcDfEcDfEcDfEcDfEcDfEcDd fEbDfE cCdFeCdFeCdFeCdFeCdFeCdFeCdD FeCaFe BfDfEcDfEcDfEcDfEcDfEcDfBfDd fEbDfE bFdFeCdFeCdFeCdFeCdFeCdFbFdD FeCaFe CcDfEcDfEcDfEcDfEcDfEcDfEcDd fEbDfE cCdFeCdFeCdFeCdFeCdFeCdFeCdD FeCaFe CcDfEcDfEcDfEcDfEcDfEcDfEcDd fEbDfE cCdFeCdFeCdFeCdFeCdFeCdFeCdD FeCaFe BcDfEcDfEcDfEcDfEcDfEcDfEcDd fEbDfE bFdFeCdFeCdFeCdFeCdFeCdFeCdA FeCaFe cEa cEa cEa cEa cEa cEa

82

TYPO Geometric Circle 06

LYRICS Chuck Berry, Johnny B. Goode

by Petra Kapitza

83

TYPO Dos De Tres

LYRICS Etta James, I Just Wanna Make Love to You

by Eduardo Escobar

84

TYPO FT Weapon of Choice

LYRICS Ray Charles, Hit the Road Jack

by Peer Boon

85

TYPO Aneira Dingbats

LYRICS Ella Fitzgerald, Cry Me a River

by Kai Hoffmann, Julia Furtmann

86

TYPO Quilt Patterns

LYRICS Freddie Bell & the Bellboys, Giddy Up a Ding Dong

by Mareike Seeg

87

TYPO Design We Like

LYRICS Elvis Presley, Rock Around the Clock

by Vittorio Bonacina

88

TYPO Fruit and Veggie Doodles

LYRICS Little Richard, Tutti Frutti

by Doreen Michalk

AMBROSI GRAPHICS TYPOLYRICS CHUBBY CHECKER.indd 1

89

TYPO Royal Oak

LYRICS Chubby Checker, Let’s Twist Again

06/04/10 13:36

by Marco Ambrosi

90

TYPO Love Birds

LYRICS The Beatles, Twist and Shout

by Ricardo Marcin, Erika Jung

91

TYPO Pixel Zoo

LYRICS Fats Domino, I’m Walking

by Tony de Marco

92

TYPO Liebe Cook

LYRICS Billie Holiday, I Love You Porgy

by Ulrike Wilhelm

93

TYPO Insigne Splats

LYRICS Jerry Lee Lewis, Whole Lotta Shakin’ Goin’ On

by Special Machine

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94

TYPO PF Ornamental Treasures

LYRICS Carl Perkins, Matchbox

by Jonas Beuchert

95

TYPO Poet Concrete One

LYRICS Bo Diddley, You Can’t Judge a Book by Its Cover

by Tilman Schlevogt

96

TYPO Presidential Dingbats

LYRICS The Contours, Do You Love Me

by Sebastian Steinhoff

97

TYPO Lacrima

LYRICS Neu!, Lila Engel

by Alexander Meyer

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O . . . . . . . . , . . . . . . . . . . . . . , N ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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98

TYPO Hermes

LYRICS Kraftwerk, Radioaktivität

by Gavillet & Rust

99

TYPO Century Schoolbook Mono

LYRICS Ton Steine Scherben, Macht kaputt, was euch kaputt macht

by Flo Gaertner

100

TYPO ZHdK Black

LYRICS Cosmic Jokers, Sci Fi Party

by Claudio Barandun

101

TYPO Monospace 821

LYRICS La Düsseldorf, Geld

by Vier5

Crawling

102

TYPO Staple Mono

LYRICS Wire, I Am the Fly

by Ko Sliggers

103

TYPO HM Tilm

LYRICS DAF, Verschwende deine Jugend

by Till Wiedeck, Timm Häneke

s,

RZ_Layout.indd 1

104

TYPO Maison Mono

LYRICS Birth Control, Gamma Ray

by 123buero

06.04.10 12:43

105

TYPO MVB Fantabular

LYRICS Ihre Kinder, Leere Hände

by Sebastian König

Was

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• Der Name Guru ist zum Beispiel prähistorisch, er soll, kann, zeigt aber nichts.

106

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Gestatten, der Elektrolurch:

LYRICS Guru Guru, Der Elektrolurch

by Felix Weigand

107

TYPO Monocle

LYRICS Floh de Cologne, Was ein Kommunist trinken darf

by Mike Jaraboe

108

TYPO Alto Mono

LYRICS Can, Moonshake

by Catrin Sonnabend

Q.u.i.c.k.—. L.e.t.s. m.a.k.e. l.o.v.e. B.e.f.o.r.e. y.o.u. d.i.e. O.n. w.a.r.m. l.e.a.t.h.e.r.e.t.t.e.

109

TYPO Lettera

LYRICS The Normal, Warm Leatherette

by Kobi Benezri

110

TYPO Newsletter

LYRICS Tangerine Dream, Bent Cold Sidewalk

by Typonauten

111

TyPO Olive Green Mono

LyRICS Pink Floyd, Echoes

by Georg Seifert

Rent a destroyer and sail to Cape Cod There lives a lion, they call him God

112

TYPO BP Mono Italics

LYRICS Amon Düül II, Archangel Thunderbird

by George Triantafyllakos

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Come, Heavy Sleep

j

The image of t ru e de at h ; And close up these my weary weeping eyes: Whose spring of tears doth stop my vital breath, And tears my heart with sorrow’s sigh-swoll’n cries: Come and possess my tired thoughtworn soul, That l i v i ng di e s , till thou on me be stole.

Come shadow of my end, and shape of rest, Allied to de at h , child to his black-fac’d night: Come thou and charm these rebels in my breast, Whose waking fancies do my mind affright. O com e s w e e t s l e e p, come or I die for ever, Come ere my last sleep comes, or come never.

Q l John Dowland m

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113

TYPO Opal Pro

LYRICS John Dowland, Come Heavy Sleep

by Hannes von Döhren

114

TYPO Romain

LYRICS Philip Glass, Liquid Days

by L2M3

115

TYPO Sang Bleu Serif

LYRICS György Ligeti, Lux Aeterna

by Bureau Mario Lombardo

La Traviata Verdi

Violetta

Libiamo, libiamo ne’lieti calici che la bellezza infiora. E la fuggevol ora s’inebrii a voluttà. Libiamo

Tutto è follia Alfredo nel mondo Ciò che non è piacer.

116

TYPO Narziss

LYRICS Giuseppe Verdi, Libiamo ne’lieti calici (La Traviata)

by Eps51

117

TYPO Magneta

LYRICS Giovanni Pierluigi da Palestrina, Missa Papae Marcelli

by Neil Summerour

118

TYPO FF Meta Serif

LYRICS Richard Wagner, Hojotoho! (Die Walküre)

by Alexander Roth

Ave formosissima, | gemma pretiosa, ave decus virginum, | virgo gloriosa, ave mundi luminar, | ave mundi rosa, Blanziflor et Helena, | Venus generosa! 24.

119

TYPO OurType Custodia

LYRICS Carl Orff, Blanziflor et Helena (Carmina Burana)

by Corina Cotorobai

x

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& 120

TYPO Malabar

LYRICS Richard Strauss, Also sprach Zarathustra

by Sven Michel

121

TYPO Marat

LYRICS Claude Joseph Rouget de Lisle, Marseillaise

by Côme de Bouchony

Küss

/ nimm sie dir / Küss sie nur / dazu sind sie ja hier

˘˘˘˘˘ Gern hab’ ich die Frau’n geküsst / hab’ nie gefragt / ob es gestattet ist / Dachte mir / nimm sie dir /

122

TYPO Compass TRF

LYRICS Franz Lehár, Gern hab’ ich die Frau’n geküsst (Paganini)

by Uli Weiß

SEIT DIE ENGEL SO GERATEN, O WIE VIELE BLUT’GE TATEN HAT DER STREIT AUF WILDEM PFERDE, DER GEHARNISCHTE VOLLBRACHT!

Dringlich, flehend, leis verklagend: Friede, Friede auf der Erde! ***

123

TyPO ysobel

LyRICS Arnold Schönberg, Friede auf Erden

by Francesca bolognini

124

TYPO Vesper

LYRICS Georg Friedrich Händel, Hallelujah

by Nepomuk

125

TYPO Arietta

LYRICS Max Richter, The Trees

by Abi Huynh

126

TyPO Acuta

LyRICS Franz Schubert, Der Lindenbaum

by Elena Albertoni

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LYRICS Wolfgang Amadeus Mozart, Der Vogelfänger bin ich ja (Die Zauberflöte)

TYPO Bonesana

127

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M A R I E . Ich bin doch ein schlecht Mensch! Ich könnt mich erstechen. Ach, was Welt! Geht doch alle zum Teufel, Mann und Weib!

W O Z Z E K . Es red’t immer: stich! stich! und zieht mir zwischen die Augen wie ein Messer —

M A R I E . Ich hätte lieber ein Messer in den Leib als deine Hand auf meiner.

128

TYPO Suisse BP Text

LYRICS Alban Berg, Wozzeck

by Johannes Heck

129

TYPO Railbox

LYRICS Black Flag, Spray Paint

by Alexander Wise

California Über

130

TYPO Logistica

LYRICS Dead Kennedys, California Über Alles

by Julia Kahl

A lles

131

TYPO Iwan Stencil

LYRICS Sex Pistols, Holiday in the Sun

by Klaus Sutter

132

TYPO Reklame Stencil

LYRICS Minor Threat, Minor Threat

by bauer

133

TYPO Ogaki

LYRICS NoMeansNo, Teresa, Give Me That Knife

by Patrick Hubbuch

134

TYPO Concrete Stencil

LYRICS Ramones, Blitzkrieg Bop

by Ryoichi Tsunekawa

135

TYPO Grim Stencil

LYRICS MC5, Borderline

by Jan Lengwenat

136

TYPO Motto

LYRICS Stiff Little Fingers, White Noise

bY Marcus Sterz

137

TYPO Giambo Stencil

LYRICS The Stooges, I Wanna Be Your Dog

by Rodrigo Fuenzalida

BELA

NEW

138

TYPO Alexey

LYRICS The Damned, New Rose

bY 2xGoldstein

139

TYPO The Crew Pro

LYRICS Buzzcocks, You Tear Me Up

by Götz Gramlich

140

TYPO Road Stencil

LYRICS D.R.I., I Don’t Need Society

bY Oliver Helfrich

141

TYPO Scape

LYRICS Patti Smith, Land

by Mike Jaraboe

142

TYPO Cargo

LYRICS Discharge, A Look at Tomorrow

by Axel Gaertner

143

TYPO Investigator JNL

LYRICS The Slits, Typical Girls

by Pixelgarten

144

TYPO FP Silly 2

LYRICS Refused, The Shape of Punk to Come

by Chris Spatschek, Lisa Stöckel

145

TYPO Zwoelfton B

LYRICS Lützenkirchen, 3 Tage wach

by Bureau Mirko Borsche

146

TYPO Rauschen

LYRICS Miss Kittin, Kittin Is High

by Matthias Christ

147

TYPO Frac

LYRICS Faithless, Insomnia

by Dirk König

148

TYPO Einmalich

LYRICS Kraftwerk, Die Roboter

by Ingo Walde

149

TYPO Computerdigitronic

LYRICS Reel 2 Real, I Like to Move It

by Claudia Müller

150

TyPO Toronto

LyRICS Aphex Twin, Windowlicker

by Moshik Nadav

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