Lately, I’ve been buying books on a particular topic in pairs in order to get a broader perspective. Here are two books on book design.
“Book Design” by Andrew Haslam
A veritable encyclopædia on book design and manufacture. It serves well as a reference and has excellent supporting diagrams. Light on philosophy and prescription, but lots of practical information for the beginner. In addition to the diagrams he has created to illustrate concepts, Haslam has curated a choice selection of other book designer’s work.
Laurence King Publishing Ltd. London, 2006
“On Book Design” by Richard Hendel
What an excellent concept – get a bunch of designers to write a chapter each on their personal approach to book design. Unfortunately a poor outcome. Although it steadfastly refuses to be a historical review or instruction manual, 30 pages are spent on book design fundamentals. Hendel provides an account of his own experience in designing On Book Design. The meta nature of this is initially interesting, but ultimately as satisfying as the situation of author-designer common. The remaining essays by other designers lack insight, reflection and philosophy and end up reading as rather mundane accounts of how a particular book was put together (and not particularly inspiring books at that). Hendel’s smarmy tone is also rather off-putting.
Yale University Press, 1998
To summarise, I would recommend Andrew Haslam’s Book Design for the beginner or someone who wants a handy reference on book design and manufacture. Those hoping for a higher-level reflective discourse about the art and meaning of book design should skip On Book Design. I’ll continue to look for such a book.
Like Flying Lotus’s Los Angeles (2008), Prefuse 73 offers an album suitable for narcoleptics, schizophrenics and those otherwise suffering from attention deficit disorders. Micro-songs chock-full of texture and beats, each its own little rush. 
Sprawling across two CDs, the Lips cover a broad sonic and emotional landscape. Perhaps the the most musically rich and interesting albums of the year.
Still darlings of the indie rock world, the Yeah Yeah Yeahs sound less raw in this release, but turn out some well-tuned pop-rock songs with a hint of disco.
Incredibly well-executed electronic music that has elements of dubstep, minimal techno and ambient. One of my favourite discoveries of 2009.
The Fuck Buttons continue their excellent form, following on from 2009’s Street Horrsing. Sit back, turn it up, and let it wash over you. Each track takes you somewhere, sometimes through harsh, brutal terrain, but you are always rewarded for it.
There’s not a whole lot of difference between Karin Dreijer Andersson as “Fever Ray” and Karin Dreijer Andersson plus brother Olof as “The Knife”, but who cares. Distorted, creepy vocals and superb synth work. Also, the best live show I saw all year.
I am at risk for losing my visa if I do not include a Norwegian band, so I’m delighted that Röyskopp released the excellent Junior this year. An incredibly solid pop/dance release brimming with stand-out tracks.
A little less bombast (by Antony standards), it took me quite a few listens to appreciate the sublimeness of this release. An album that lifts your spirit in parts but still offers lots of opportunity for crashing down in melancholy. 
Another discovery of 2009, First Love is both a hugely under-appreciated release and hugely impressive debut. Singer-songwriter/pop-acoustic kind of a thing, with excellent lyrics, catchy melodies and good production.
No surprises here I suppose as Merriweather Post Pavilion topped most best-of lists for 2009. It indeed includes some excellent tracks, although disappointing as an album. If you ignore some of the filler tracks but bundle in Fall Be Kind which was released later, you can make your own Animal Collective Ultimate 2009 Album.
