Monday, June 27, 2022

Ferum And Paolo Girardi's Pain Of Duality

Originally formed in Italy, Estonia-based Death Metal band, Ferum, are releasing their debut album, "Asunder/Erode," on August 19, 2022. This recording will feature on the cover an illustration painted by Italian maestro, Paolo Girardi.

Exclusively for And Justice For Art, the members of the band explain they "wanted to represent the pain of duality in human form. One entity that grows into two and violently splits, changes, gives birth to something else, gets infected and becomes out of control." Girardi remembers that "Samantha (Ferum guitarist/singer) told me the title of the album “Asunder/Erode” mostly based on concept of separation and dissolution. She talked about those two Siamese subjects that are suffering, rotting and they carry two monstrous beings. Samantha told me to represent the concept of separation and to be quite minimal. She also told me that she likes warmer hues (red and surroundings) and about her vision of 2 zombie arms/hands opening the belly. So I joined these ideas to some traditional Death Metal covers I grew up with, also based on rot/maggots/organic textures/darkness. Tried to paint a rich background that could be also minimal even in its various details and changing textures . The division between the two characters is like a large and deep scar. The subjects are also full of maggots and they’re horribly rotting. Everything had to have my usual 17th-18th European painting vibes—from the Italian tradition of Caravaggio to painters from Veneto and German/Flemish [tradition]." "We couldn't have chosen a better artist than Paolo Girardi," the band reveals. "His art is just breathtaking. We are very satisfied with the result." "Asunder/Erode" will be available via Avantgarde Music/Unorthodox Emanations. Listen to the album's first single "Halfhead" at Discover more stories about Hard Rock and Metal album covers in the book "And Justice For Art...Live!" still available at:

Sunday, May 8, 2022

New book "And Justice For Art...Live!" now available.

The new book "And Justice For Art...Live!" is finally available...for limited time. This is the first book in the history of heavy music dedicated to tell the stories behind hundreds of live albums. The book includes 240 color pages and over 500 images and stories about many iconic live recordings like Iron Maiden's "Live After Death," Helloween's "Live In The U.K.," Pantera's "Official Live," Metallica's "Through The Never," Sodom's "Mortal Way Of Live," and many others.

This is limited edition book is only available at the official store 

Each copy is singed by the author and comes with an exclusive bookmark, a CD, a mini-poster and a streaming postcard, plus free worldwide shipping. Use the code BLMWBB to get a 5% discount. Only 500 copies were printed. At this point, there's still about 150 available. You can also purchase the "And Justice For Art" two-book collection at:

Monday, August 23, 2021


 Danish Melodic Death Metal act, LIVLØS just unveiled the cover artwork for the upcoming new album, “And Then There Were None.”

"The artwork was created by acclaimed Polish artist, Mariusz Lewandowski, whose art matched LIVLØS’ artistic vision" the band revealed to And Justice For Art. They explain that the image depicts "Death, which finds himself lost in despair, both as a result of the massive workload that cosmos has bestowed upon him, but also due to a sorrowful pity he feels for our indomitable doom and the good people that must also follow him. This cosmic plan can therefore also be translated into deeply personal matters. The pains of Death are insolubly connected to life and love, and we are for the most part all equal in the cycle of being and its eternal duality - we are born into this world and must live with everything that this includes, and in turn, wither, say goodbye and die."

Regarding the concept and the presence of fire in the artwork, Mariusz Lewandowski, comments: "Fire was the leitmotif of the graphics of the new LIVLØS album. Fire that can destroy, annihilate with its power, and at the same time has creative power. After all, diamonds are born in a monstrous fire, gold acquires its magnificent properties and unprecedented beauty in the fiery depths of the stars, and this is how it could be exchanged for a long time." He also says that the band had a "very professional approach, leaving full creative freedom to the subject, which made working on the graphics a pure pleasure."

"And Then There Were None" will be released on October 22, 2021, via Napalm Records

Pre-Order at:

Those interested in knowing more about Mariusz Lewandowski and his work, we recommend that you check out the book "And Justice For Art - Stories About Hard Rock & Heavy Metal Album Covers" exclusively available at:

Sunday, March 21, 2021

Mariana from DC Wonders talk about "...And Justice For Art - Volume 3"

Mariana from Canada and the host of the Youtube channel, Dc Wonders, is one of the Executive Producers on the new "And Justice For Art" book and wrote a brief afterword for it. She just sent us this brief video after receiving her copy of the book.

Make sure to check Dc Wonders (and subscribe) at:
Copies of the new book "...And Justice For Art (Volume 3)" are still available at:
Use this code to get a 5% discount: L4HQHK
You can also buy for a limited time, a combo of Volumes 2 and 3 at:
Use this code to get a 5% discount: RGXNV3

Monday, February 15, 2021


The wait is over! Pre-orders for the new book "...And Justice For Art - Volume 3" are now open! The book features 260 glossy color pages, 431 images, plus 102 interviews and exclusive comments. Approximately 300 copies are still available. Every copy comes with an exclusive marker and signed by the author.

Use this code L4HQHK to get a 5% discount! Get your copy at:

Saturday, July 25, 2020


We just received from the printer some test pages of the upcoming book, "And Justice For Art - Volume 3." They look AMAZING. The quality of the printing and the colors are spot on. The next step will be printing a color test of the whole book. Once that is approved, the book will be finally manufactured. More updates coming soon!

Saturday, April 25, 2020

Midnight Cemetery: A Cover Art Virtual Revolution

Nowadays, most of humanity is living under quarantine, trying to fight certain lethal virus that has caused devastating effects around the world. Being trapped without having access to 'real' social interaction has become a titanic endurance test. However, it can also be an opportunity to discover new experiences that could lead people beyond the physical walls of their limited living spaces. One of those experiences that can be discovered and enjoyed from home thanks to the wonders of technology is "Midnight Cemetery." This virtual reality tour/exhibit was created by talented multi-media Romanian artists, Adrian-Tabacaru official and Costin Chioreanu and takes visitors inside a ghostly cemetery that looks like nothing you've seen before. In the following interview, the artist talk about the creation of this immersive experience that could revolutionize the perception of album covers in the near future. 

Experience "Midnight Cemetery" for FREE here

Can you describe for readers what is Midnight Cemetery?

Adrian Tabacaru:
 The Midnight Cemetery is a visually striking Virtual Reality experience. It's a place where you can explore and interact with Costin Chioreanu's vibrant artwork he made for the album "Afterlife Romance," an album composed and performed together with Sofia Sarri. A place where everyone is invited to explore a suspended space, surrounded by mysterious characters frozen in time.

Costin Chioreanu: Well, what can I add? It's most probably the first interactive cover artwork. Basically, you can literally (in virtual mode, of course) can visit places which until now were designed for illustrating the booklets of the "Afterlife Romance" album. I think, at least for me, this is the greatest achievement of all. Adrian did an amazing job also with sound and animation... so yeah, I am beyond excited by the result!

What motivated you to work together on this project?

Adrian Tabacaru:
 I love Costin's artwork, it's two-dimensional substance, and thought that it will look amazing to extrapolate this space by bringing the third dimension to it. Adding depth would make everyone feel immersed. This would provide the things that were always missed in an illustration: the 'immersiveness and the interactivity.' I was trying to re-create the atmosphere I felt by exploring Costin's artwork and to create a new interactive world.

This is the thing I dreamed ever since I was a kid that is to be part of the illustration. Back then, I was just imagining it, now it's real...well...virtually-real.

Costin Chioreanu: When I discovered Adrian's work, I got blown away and I couldn't stop my expansive mind of thinking how I could access this world and what amazing things are waiting there for me to discover. It did not took me long time to realize how interesting my work will look like in another dimensional spectrum. I mean, I started with illustration, the next level was to bring my way of doing things in the 2-d animations which are the base of almost 90 videos I've done for bands in the last years. 
So... this collaboration came to me as a logical next step in my endeavor. So I feel extremely accomplished!

Adrian, from the technological standpoint, which were the most challenging aspects of this project?

Adrian Tabacaru:
 I am far from what a technician is able to do, my academic background is musical. I'm actually a techno-fluent computer-composer, a musician who likes to explore technology and express in modern ways. The challenge was that I had no idea how to do it and this is the most beautiful challenge I will always love to do.

How was the development processes? How did you distribute the workload?

Adrian Tabacaru: It took about 6 months to create this experience, Costin was providing the artwork elements in detail, with each individual layer exported separately, and I was trying to recreate this in a three-dimensional atmospheric space by adding animated 3D elements, depth, and interactivity to the characters.

Costin Chioreanu: Yep, and before all this I spend weeks on creating the native illustrations for my album which is by far, the most complex set of illustrations I ever made for an album booklet. And that is because the album I did with Sofia is super personal and an extremely important record for me.

Can you tell us more about the music used for the project, the "Afterlife Romance"?

Costin Chioreanu: Yes, it is an album where I composed and recorded all the music and Sofia took care of the vocals and lyrics. But everything was worked as a conceptual album, from writing music to writing lyrics and interpretation.

It is a, let's say, a more romantic Avant-dark-Prog version of a King Diamond story. It is not that horror, it is not Heavy Metal, but is more spiritual and more eerie. The album speaks about the story of two ghosts, living in a cemetery, who got in love in one of the nights. The cemetery is a system/society between ghosts, is a complete world, and there are rules to be respected as well. Our two characters are getting into some problems because of that, but in the end they escape using the most unexpected trick ever.

This is a groundbreaking project. As you mentioned, it's probably the first cover artwork that has been transformed into a true multi-dimensional experience. How's been the overall reaction to the project so far? Would you do something similar again?

Adrian Tabacaru:
Being a worldwide premiere in this field, people don't know yet what to expect and how to react. I am sure that in time, when Virtual Reality technology will become more accessible, more people will understand it. For sure we will continue to do this kind of experiences. Currently, we are just scratching the surface and the future holds amazing things in this effervescent world.

Costin Chioreanu: I totally agree with Adrian and I really think people from the industry should carefully check this out, because it can become a new way of promoting music in the new world which is forming as we speak. They should take this very seriously as it can be very easy and vital part of the future.

Experience "Midnight Cemetery" for FREE here

Saturday, April 18, 2020


This amazing piece titled, 'Epidemic', was crafted by American artist, Brian D'Agosta of Gostworks Art. "I thought I'd make a new piece, inspired by Slayer's song 'Epidemic' and Larry Carroll's style and palette from the "Reign In Blood" LP cover," the artist says.
This image measures 36 x 42 inches and was produced with acrylic, watercolor, enamel on canvas. It's currently available for licensing. Contact the artist for more details via:

Tuesday, December 10, 2019

Monday, August 26, 2019

THE CHUCK SCHULDINER RE-ISSUES: A Conversation with Death/Control Denied's former manager, Eric Greif.

Album reissues have become quite common in today's Metal scene. One of the best examples of such trend are the deluxe editions of Chuck Schuldiner's musical legacy. Painstakingly put together by former manager, Eric Greif and a dedicated team at Relapse Records, these editions pay homage to the life and works of Death's and Control Denied’s late mastermind and include plenty of new information, unreleased recordings, revamped mixes and superb packaging.

A while back, …And Justice For Art interviewed Eric Greif about the making of these reissues. Greif, who is in charge of Schuldiner's legacy through Perseverance Holdings LTD, explains how these new versions of albums like Death's "Human," Control Denied's "The Sound Of Perseverance" among others, offer a new look into the creative world of one Metal's greatest musicians.

Chuck Schuldiner

The visual and sonic quality of these re-issues reveal that you and Relapse Records spent a lot of effort, time and money to make this happen. Is it financially viable to put to a project like this together?

Eric Greif: Yes, it works financially for all concerned. However, I don't get as alarmed about the rise of downloading and file-swapping as others have because I see how many people have been buying the DEATH reissues. Fans want to hold something in their hands, to look at all the extra goodies, and that is just not the same with grabbing a file of album cover art. We strive to make the product as great as it can be, so that everyone says they really got what they paid for and that it was a killer fan experience.

Was the budget crucial to make these new editions successful?  

Eric Greif: I suppose so. With Relapse Records and us (Perseverance Holdings LTD), we have spared no expense in the quest to give fans the ultimate product, so I've yet to read a single negative comment about the product itself (other than from the tiny minority who object to any reissue or tinkering with the past). However, if you have no money to invest in a release, certainly it will look & sound like shit. That has never been the case with any product I've been associated with as that would go against my own ethos about making fans happy.
In the case of the Death's, Control Denied's and even Mantas' re-issues, people praise the quality and level of detail and amount of material included. In some cases, there are even new mixes and the design and overall look of each album is phenomenal. That proves that you and the other people involved have taken very seriously these projects. 

Eric Greif: This is my life. I have been associated personally with DEATH for 25 years. My job is to preserve and grow the legacy for new generations, and that is exactly what is happening. I want it to be the best that it can be, both in terms of sound and look. I am very gratified that it is perceived as being great, and I know that Relapse feels exactly the same as I do about quality being of paramount concern. As for remixing, I felt that the two albums that required this were Human and Individual Thought Patterns, and this we took a stab at, and I feel they both work. The support from fans has been overwhelming and encouraging.

With so much archival material to choose from… Was it difficult to choose what to include and what not in these special editions?

Eric Greif: In our case, Relapse's production manager, Drew Juergens, and I have the final say in working out what ends up on each album. We usually have more than enough material and begin to sift through the contents and come to a consensus about what the whole package will look like in terms of material. So far there haven't been any major problems or disagreements—they have come together in karmic fashion.

From the very first album of these re-issue series (Control Denied's The Fragile Art Of Existence in 2010), you included a generous amount of liner notes discussing many aspects these recordings and Chuck's life. This brings new context to old time fans and opens the doors to Chuck's world for newcomers.  

Eric Greif: Everyone deserves the best package that is reasonably possible to put out there. I think the booklet for the Spiritual Healing reissue, for example, is 28 pages of vivid color, with four separate liner notes, all the lyrics, an updated credits & thanks list, and literally tons of photos nobody has ever seen before. With a standard reissue having a bonus disc, and with the reissue the same price as a normal CD, it is also incredible value for money. Everyone wins, but especially the thousands of new fans who were barely children at the time DEATH came to an end with Chuck's passing in 2001. For them it is all a fresh experience, and the enhanced packaging and audio only makes the impact of what they are holding in their hands that much more vital.

In your opinion... Who benefits the most from these reissues, new or old generations?

Eric: I think everyone benefits and appreciates what they are getting for their money, young & old, DEATH old school diehard or novice newbie—it makes no difference. Our goal when planning is to try and please everyone, with the best layout and contents that are possible at that very moment. This grows the brand.

Do you think reissues and special editions like these, are a way to preserve the music for new generations and a vehicle to enhance the importance of physical albums?

Eric Greif: I think for a short while people were just taking music from the net and that they lost the vibe of discovering a new album, holding it and listening to it as an 'event'. Sales dipped drastically, but have now made a comeback of sorts. I know people surely are buying our product, and it is because we give them something that they want to possess. To have, to hold, to worship.

In the new book ...AND JUSTICE FOR ART: STORIES ABOUT HEAVY METAL ALBUM COVERS you provide many details about Death/Control Denied's album covers. You also reveal that your favorite Death album cover is the new version of "The Sound of Perseverance" designed by Travis Smith. Can you tell us why? 

Eric Greif: Travis had told me how personally important and fulfilling it would be to him to revamp the cover from its original form in 1998, and when he unveiled the reissue art, I was speechless. It was utterly fantastic and was a realization of what he'd originally attempted years previously, when he was a younger artist and didn't quite feel right about what he had created and knew he could better it. He did, and I adore it.

The new book ...AND JUSTICE FOR ART: STORIES ABOUT HEAVY METAL ALBUM COVERS includes chapters about the making of some of Death/Control Denied's album artworks and extensive interviews with Eric Greif and artist, Travis Smith. It's exclusively available here.