GABE: New Gullyside logo.

posted on December 24th, 2011 by in GABE


Those who follow @AllianceJamaica on Twitter might have noticed the new Gullyside logo. It was designed by SEEN art director GABE.

Watch out for a major update on his portfolio website soon. The man’s been productive!

Red Stripe X Yuri Suzuki.

posted on November 16th, 2011 by in Design

Gappy Ranks and Al Fingers demonstrate Yuri Suzuki‘s sound sculpture, built out of thousands of Red Stripe cans recycled from Notting Hill Carnival.

via Al Fingers

GABE X No Ice Cream Sound #2: Addi Di Teacha.

posted on August 22nd, 2011 by in Design, GABE

© Illustration by Gabe
© Illustration by Gabe

We told you already and we tell you again: Today is the day that issue 2 of »No Ice Cream Sound« magazine is released. It e.g. features:

Exclusive interviews with Sizzla, Ward 21, Solo Banton and Carolyn Cooper. A Feature on Japanese Dancehall and Alternative reggae from our JP correspondent. A chart from Al Fingers. Gabriel Heatwave’s exclusive review of Showtime!

A piece of GABE’s work can also be found in there: He illustrated a story about Vybz Kartel a.k.a. The Werl’ Boss a.k.a. Addi Di Teacha (see picture above).

Make sure to grab your copy from the Shimmy Shimmy online shop.

Large Up interviews Suze Webb (Shimmy Shimmy).

posted on August 14th, 2011 by in Article, Design, SEEN

The Large

Wanna find out what happens when one of our very favourite female reggae writers, Erin MacLeod, interviews another sister in mind, Suze Webb a.k.a. The Large? Then head over to Large Up and read about the importance of design for Suze’s zine »No Ice Cream Sound« as well as the story behind her Shimmy Shimmy T-shirts.

I spend my whole time talking to designers. My motto for them is »no weed signs and no red, yellow and green.« I’m so bored of it. I know people like that kind of stuff, but it is just so clichéd and there is another side to it. And I think there is a whole corner of design there that people haven’t tapped into that goes beyond red, gold and green. I wanted to stick with using bright colors and making sure it was fun and represented that bright side of dancehall culture. (via Large Up)

In the interview, Suze also mentions SEEN as one of the labels that influenced Shimmy Shimmy which makes us very happy. Keep doing your thing and hope to be able to link up at this year’s Notting Hill Carnival!

PS: Shimmy Shimmy shirts as well as issue 1 of »No Ice Cream Sound« are available at No Ice Cream Sound issue #2 will be out on August 22nd.

Nice things of the week: Major Lazer toy, Al Fingers Cards & A Social History of Jamaican Album Covers.

posted on August 6th, 2011 by in Audio, Design

Super Cat / Major Lazer / Al Fingers

Yes people. Here some thingies we liked pon the Internets these days:

Major Lazer: Kaiju Comic-Con Edition
Major Lazer is was available as a plastic toy figure at this year’s San Diego Comic-Con and in the Major Lazer online store. Design by Ferry Gouw.

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Download Major Lazer’s When You Hear The Bassdrum (Stereotype Angry Remix)

Al Fingers Limited Edition Business Cards
The man Al Fingers has new business cards featuring 7″ vinyl imagery. Each card is unique, featuring its own design.

All you need to do to claim your free business card is work with Al Fingers. It’s that simple. Just commission Al for a highly paid project and get your one-of-a-kind card, free of charge!

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Download Al Fingers’ Katy Perry – California Gurls (Black And Yellow Refix)

Smashing Magazine: A Social History Of Jamaican Album Covers

For many people, this vision – of roots reggae and its deified lead singer – is the only face that Jamaican music has to offer. (To be honest, the Jamaican music industry, in its eagerness to capitalize on the popularity of this face, hasn’t done much to contradict it.)

Dig a little deeper, however, and you’ll find a dozen genres lurking beneath the tie-died surface of roots reggae. On the album covers belonging to these genres, moreover, you’ll find a dozen different – and sometimes contradictory – visual images of what it has meant to be Jamaican, besides the template of the righteous Rastafarian popularized by Bob Marley. Although the reggae of the 1970s popularized a message of political rebellion, you only have to go back a few years earlier to find album covers that unconsciously reflect the values of neocolonialism – Jamaica as cultural treasure chest waiting to be looted by foreign interests.

Read the whole article.