Lewis Heriz: The Artist Behind The Vintage African Album Covers For Soundway, Strut Records, Now-Again & More

A conversation with designer and illustrator Lewis Heriz, the man behind Soundway Records, Strut, Now-Again and Sofrito's artwork.

London-based designer and illustrator Lewis Heriz has been creating vivid and colorful album artwork for the past seven years. His extensive output has been used by Soundway Records, Strut Records, Now-Again/Stones Throw, and Sofrito as covers for the likes of Quantic, Seu Jorge, Batida, Konkoma, and Ibibio Sound Machine, as well as compilations that include Kenya SpecialHighlife On The Move, Tumbélé! and many more. This Thursday, Heriz's work will be celebrated at the Ace Hotel's Cover Club in London, a free event that puts the spotlight on the artists behind some of the most creative record covers. We spoke with Heriz below ahead of the event.

Okayafrica: How did you first get involved in designing album artwork? What cover of yours would you consider your first 'break'?

Lewis Heriz: It all came from the poster designing I was doing as part of my music promotion work in Nottingham and London around 07/08. Gradually the bands we were putting on — and the labels whose records we played — started asking me to work on their releases off the back of these posters. It was very gradual and organic, so quite hard to pinpoint a single break, but the first jobs for Soundway were instrumental in cementing my current career in music design. Those would be the Ghana Special and Tumbélé! compilations. Almost at the same time the first jobs with Now-Again records — Whitefield Brothers' Earthology and the Seu Jorge & Almaz project — happened, which were also very important. 2009 was quite a big year.

OKA: How did you get into designing album covers for African artists and releases?

LH: It's important to point out that the majority of my designs for releases related to the African diaspora have been compilations of old recordings rather than for new bands, so a lot of my artwork referenced the mid-20th century design associated with the music from that time. In my poster work for Sofrito, the task was to reflect the energy of the largely 60s & 70s dance music played at the nights, and the fact it's both old yet entirely relevant to the modern dancefloor. I think it was this approach to visually representing the relevance of the music to a modern global audience that helped me get work with the labels that were trying to do precisely that with their releases. There was a matching of intent. With the Soundway records, the conversation with Miles Cleret (Soundway label owner) was always, 'how do we push it forward, while still referencing the era in which the the music was produced?' When Soundway then started signing new artists, such as Batida, Konkoma & Ibibio Sound Machine, that aspect of looking forward made it easier to transition visually from a reissue label to a fully-fledged signing label.

OKA: How would you describe your aesthetic?

LH: I always try to match the visual with the music, so I try not to impose any particular aesthetic, or come at it with a specific direction before understanding where the music's coming from. Which makes it hard for me to answer this one! But a lot of what I do has an analogue feel, often looking (even if it isn't) hand-printed or hand-drawn, and I lean towards a limited but bold colour palette - I suppose this tends to make my work look older than it is, but as I said, I don't want it to look retro if possible. My love of modernist/mid-20th century art & design is a huge factor in what I do, yet I'm always trying to develop on from that in some way.

OKA: What are some of the main visual influences on your work? Who are other cover designers/illustrators you're influenced by?

LH: Honestly, I'm as much influenced by visuals I dislike than the ones I like! Because it's only through knowing what you don't like that you can properly distinguish the boundaries of your taste. In terms of the record covers, the main influences depend on the release and the specific brief. I try to keep an open mind, because very often the music is in some way connected with artwork that is incredibly inspiring and deserves to come through in the new design. This led me from Ghanaian record designs, through the Cuban poster artists of ICAIC and OSPAAAL, on to South Asian book cover designers whose names, in many cases, are lost to history... all of this research has had a huge impact. However I rarely go to professional designers or illustrators for inspiration. While I could list some of my favourite designers, that would be far less indicative of what inspires me than the way those not formally trained in visual art or design (I also fall in that category) modify and delineate their surroundings with colour, hand-painted signs, murals, clothing and so on - it's this public art that communicates a sense of collective self and belonging, as it's inextricably linked with place. That's what inspires me more than anything, especially for record covers of music from a specific place in the world.

OKA: What has been your favorite release to work on?

LH: I'm so lucky to have mostly worked on albums I absolutely love, so I could genuinely name pretty much any one and have a good reason for it — but I would definitely put Ondatrópica up there. It's such a triumphant celebration of Colombian music past and present, involving so many musical legends, and the playing across the board is often astonishing. I really think it's a modern classic, and it was a huge honour to produce the cover art for it. I'd really like to mention the Ghana Special set again though, because it was a love of Ghanaian & Nigerian music that set me in this direction in the first place. Again, it felt like a real honour to be packaging all this incredible music so that it could be heard by the wider audience it deserves.

OKA: List your top 5 album covers of all-time.

LH: You can't make me! This is an impossible task. But here are 5 I love for various reasons:

Ryco Jazz - Tu Bois Beaucoup (by Daniel Gargar): I'm a huge fan of Daniel Gargar's artwork. He created a large proportion of sleeves for the great label of Guadeloupe, Disques Debs, as well as being a recording musician. Out of all his covers, this is the one that probably excites me the most - I'm always drawn to the more abstract sleeve designs as, when done well, they can communicate the music in a more direct way. This is a fantastic example of that. I was alerted to his sleeves via Sofrito's Hugo Mendez who has a large collection of them.

Asiko Rock Group - S/T (designer unknown): It doesn't get much more righteous than this. Asiko Rock Group played a kind of no-holds-barred Nigerian p-funk and psychedelic disco, and the sleeve is a declaration of boldness that matches the music perfectly. It's a lesson in design impact, but while the simplicity hits you first, it's the combination of that and the delicacy of the fabric design and border that makes it truly excellent.

Henri Guedon - Cosmozouk (Henri Guedon): I clearly have a thing for sleeves designed by musicians. Even better if the artwork is by the album's composer, as it makes the package an even more complete presentation of their artistic expression... I love this painting so much, and while the typography isn't what you'd expect it's somehow perfect. I had the honour of restoring this sleeve for the recent reissue on Superfly Records, so I've spent quite a lot of quality time admiring it.

Sun Ra - The Heliocentric Worlds of Sun Ra (Sun Ra): Another example of a musician having complete control over their visual language as well as the musical. His approach, as with his music, is one of spontaneity and improvisation, and that makes his sleeve designs among the most perfect in the jazz world for me. This is one of those ones that I can happily get lost in. It was also instrumental in inspiring my design for the In The Orbit of Ra compilation on Strut.

Kyeremateng Atwede & Kyeramateng Stars - I Go Die For You (Mike Owusu-Siaw) - There have been so many amazing Ghanaian record cover artists and designers - E. E. Lamptey, Samuel Buabin, Augustus Taylor, Mantsefio Bampoe (to name a fraction) are all incredibly inspiring. This one, by Mike Owusu-Siaw, is one of my all-time favourite covers, for an all-time favourite album. In the title track I Go Die For You, Atwede's declaration of love is about as raw and honest as it gets: 'I go die for you, I go die for you; Christie, I go die for you'. Owusu-Siaw's illustration beautifully captures the look of mutual adoration expressed in the vocals - it feels like we're privy to a moment of affection so private we ought to really look away.

Cover Club is an event that puts the spotlight on the people behind the most creative record covers. It takes place at Ace Hotel, London and is completely free. Find out more about Lewis Heriz from his website, Twitter, and Facebook.

Cover of Isha Sesay's 'Beneath the Tamarind Tree'

'Beneath the Tamarind Tree'—an Excerpt From Isha Sesay's Book About Remembering the Chibok Girls

Read an exclusive excerpt from the Sierra Leonean reporter's new book, which offers firsthand accounts of what happened to the girls while in Boko Haram captivity in an attempt to make the world remember.

Below is an excerpt from the seventh chapter in Sierra-Leonean journalist and author Isha Sesay's new book, "Beneath the Tamarind Tree," the "first definitive account" of what took place on the ground following the abduction of 276 schoolgirls by Boko Haram in 2014.

Continue on to read more, and revisit our interview with the reporter about why it's important for the world to remember the girls' stories, here.


"We should burn these girls!"

"No, let's take them with us!"

"Why not leave them here?"

The men were still arguing, dozens of them trading verbal blows while Saa and the other horrified girls looked on. None of the men seemed particularly troubled by the fact that the lives of almost three hundred schoolgirls hung in the balance. Amid all the yelling, the girls had been divided into groups. Each batch would burn in a different room in the school buildings that were aflame just a few feet away. Tensions were escalating when a slim man with outsize eyes suddenly appeared. Saa had never seen him before. Like many of the insurgents, he too looked young and was just as scruffy. But when he spoke, tempers seemed to cool for a moment.

"Ah! What are you trying to do?"

"We wanted to burn them!"

"Why not take them with us, since we have an empty vehicle?"

His suggestion triggered a fresh round of quarreling. The same positions were expressed, and the newcomer continued to calmly repeat his idea of taking the girls with them, till he finally got his way. The girls later discovered his name was Mallam Abba. He was a commander.

"Follow us!" the men shouted.

None of it made any sense to Saa. Why? To where? As the insurgents shuffled her out of the compound, she felt as if her whole life were on fire. All Saa could see was the ominous orange glow of flames consuming every one of her school buildings. With every step, the fears within her grew. She struggled to make sense of the competing thoughts throbbing in her head. This isn't supposed to be happening. The insurgents had asked about the boys and the brick-making machine; they'd systematically emptied the school store, carrying bag after bag of foodstuffs and loading all of it into the huge waiting truck. With everything now packed away, Saa had thought the insurgents would simply let the girls go home. After all, that's what had happened during their previous attacks on schools—they'd always let the schoolgirls go, after handing out a warning to abandon their education and strict instructions to get married. Saa had simply expected the same thing to happen once more, not this.

She scanned the crowd of faces surrounding her; the creased brows and startled expressions of the others made it clear that everyone was equally confused. Whatever the turmoil they were feeling, they kept it to themselves. No one said a word. Saa fell into a sort of orderly scrum with the men corralling and motioning her forward with their guns, each weapon held high and pointed straight at the girls.

Saa and Blessing moved in unison, along with the hundreds of others, snaking along in the dark through the open compound gate, past the small guard post usually occupied by Mr. Jida, which now sat empty. Yelling came from nearby Chibok town. Saa could smell burning, then heard the sound of gunshots and people running. It was bedlam.

Just beyond the compound walls sat a crowd of bushes. As she and the men moved out into the open, Saa felt their thorns spring forward, eager to pull at her clothing and scratch and pierce her body. Careful not to yell out in pain, she tried to keep her clothes beyond the reach of the grasping thicket with no time to pause and examine what might be broken skin.

Saa retreated into herself and turned to the faith that had anchored her entire life. Lord, am I going to die tonight, or will I survive? Desperate to live, unspoken prayers filled her mind and she pleaded, repeatedly, God save me.

She was still praying as they walked down the dirt path away from the flaming school. The shabby-looking men with their wild eyes gave no explanation or directions. They simply motioned with their heads and the sweep of their rifles, making it clear to keep moving. As the reality began to sink in, Saa felt her chest tightening. Her heart was going to beat its way out of her body. But she couldn't allow herself to cry or make any sound. Any kind of display would make her a target, and who knew what these men might do?

The insurgents walked alongside, behind, and in front of her; they were everywhere. Every time Saa looked around, their menacing forms filled her view. Initially, all the girls were steered away from the main road and onto a rambling path overgrown with bushes; the detour was likely made in an attempt to avoid detection.

Parents lining up for reunion with daughters (c) Adam Dobby


This excerpt was published with permission from the author. 'Beneath the Tamarind Tree' is available now.

Wizkid in "Ghetto Love"

The 12 Songs You Need to Hear This Week

Featuring Wizkid, Stonebwoy x Teni, Thabsie, Sampa the Great and a classic Funána compilation.

Every week, we highlight the cream of the crop in music through our Best Music of the Week column.

Here's our round up of the best tracks and music videos that came across our desks, which you can also check out in our Songs You Need to Hear This Week playlists on Spotify and Apple Music.

Follow our SONGS YOU NEED TO HEAR THIS WEEK playlist on Spotify here and Apple Music here.

Check out all of OkayAfrica's new playlists on Spotify and Apple Music.

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South Africa has Ruled that Spanking Children is Now Unconstitutional

The judgement was unanimous.

Back in 2017, the South African High Court ruled that it was illegal for parents or guardians to spank their children i.e. use corporal punishment in the home setting. The ruling arose after a father allegedly beat his 13-year-old son "in a manner that exceeded the bounds of reasonable chastisement". Today, the Constitutional Court has upheld the High Court's 2017 ruling and declared that the spanking of children is a violation of the constitution.

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Anadolu Agency/Getty Images

Nigerian Women Have Taken to the Streets to March Against the Serial Killing of Women

"The women in Port Harcourt no longer feel safe," the protesters say.

Hundreds of Nigerian women have taken to the streets in protest of the the spate of murders that have taken the lives of eight women in various Port Harcourt hotels thus far. Dressed in in black clothing and holding placards denouncing the femicide in a scene quite similar to the protests led by South African women last week, Nigerian women are demanding that the police as well as the government do more to protect the women living in Part Harcourt especially. The BBC reports that the police have arrested two individuals who are thought to be suspects in the killings.

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