is a shoebox of a shop tucked away in a small alley in downtown Beijing. And those who do find it will qui

ckly be disabused of the quaint notion that old-style phonographic recordings have gone the way of the dinosaur.

nstead the 100-square-meter shop prides itself on being an independent distributor of vinyl records and other musical recordings.

In the basement Yang greets his fans, who have already bought the new album, either as vinyls or cassettes.

“I am impressed by the cover design of the new album,” says a rou

nd-faced young man with black-framed glasses. “It’s usually the first reason for me to buy an album.”

The experimental cover design of P.K 14’s latest album is a depart

ure from its previous use of paintings or photographs and was completed b

y the band’s drummer, Jonathan Leijonhufvud, along with two other designers and YVMIN Studio, a Beijing outfit that handled the 3D vi

sual aspects. Playing with the illusion and contrast of true and false, the cover is a 3D rendering layered on top of an im

age. The two overlap, adding dynamism to the experiment, reflecting the way the band’s 11 new songs are structured.

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