When Form Meets Function: Album Design in Taiwan (w. Hebe Tien, A-Mei, DJ Didilong, Easy Shen & Fleshjuicer)
Special Thanks to: Ministry of Culture, Taiwan
Album Descriptions: Matt Taylor
Foreword: Jocelle Koh
In our streaming-driven world, the value of physical albums often elude the best of us. Yet although the CD as a medium seems to somewhat have lost the functionality it used to champion, the Mandarin music scene has truly taken album design to the next level, embedding it deep in any hardcore fan’s music appreciation process.
The efficacy of printing in Taiwan combined with the free-flowing creativity on the scene has spawned new takes on album design that mash together concepts of progressive design and form promulgated by Western album art, whilst retaining the care and luxurious quality of these treasured pieces of merchandise as seen in Eastern music scenes.
Come with us as we delve into the stories behind the designs of some of contemporary Mandopop’s most well-loved and iconic albums; namely milestone works by Hebe Tien, A-Mei, DJ Didilong, Easy Shen and Fleshjuicer.
Hebe Tien 田馥甄 – Day by Day 日常 (2016)
Album Designer: Aaron Nieh 聶永真
Although being a singer is perceived to us as a life of glitz and glamour; to those who know better, sometimes they instead desire for one of pure simplicity. Hebe Tien (田馥甄) - one third of Taiwan’s most famous girl group S.H.E – understands this feeling more than most, and decided to explore this concept on her fourth solo studio album. To enjoy and savour the most trivial things in life is to understand that nothing is permanent, and even the small tasks and feelings should be treasured.
The packaging pays homage to the concept by taking care with even the smallest of details. A combination of bright and simple colours and minimalist design, the album brings together elements of engraving, hand-stitching and a variety of textures and symbols to create something extraordinary from the ordinary.
By Jocelle Koh & Matt Taylor
In an overwhelmingly positive and progressive move, Taiwan announced in February 2018 that it would be moving full speed towards a blanket ban on single-use plastic drinking straws, takeaway beverage cups, plastic bags and disposable utensils by 2030, one of the farthest reaching bans on plastic in the world. Originally promoted by the government since the early 1990s due to worries about diseases and cross-contamination, single use utensils and plastic bags soon became a huge problem, producing over 160,000 tonnes plastic waste annually. As a result, there have been consistent efforts by the government to become more environmentally conscious since 2000. Although this may seem an unwieldy task for residents outside Taiwan, locals have already had a culture of environmental friendliness going for years; something which has been reflected in their music scene in a big way.
And when we say ‘big’, we don’t mean a huge gaggle of artists releasing songs about loving the earth in one spurt because it was trendy before petering off to a dying trickle. We mean a consistent and encouraging history of artists within the Taiwanese independent and mainstream scenes who have expressed their concern at the state of the environment, and used their influence and visibility to keep the cause going. From Luo Ta-Yu in 1984 to Wang Leehom in 2007, and the aptly titled ‘Quit Plastic Poison’ by the Sheng Xiang band in 2016, here’s a crash course on how Taiwanese music’s authenticity and outspoken nature has lent itself perfectly to the island’s journey to greater environmental wellbeing.
Luo Ta-yu - Super Citizen 超級市民 (1984
It’s impossible to overstate how influential veteran singer Luo Ta-yu 羅大佑 has been on the development of popular Chinese language music. Since his initial contribution to the campus folk movement (校園民歌運動) of the 1970s, Luo has deservedly been credited with not only broadening the horizons of Chinese music sonically, but also setting a new model for lyricism in Mandarin.