Danish Melodic Death Metal act, LIVLØS just unveiled the cover artwork for the upcoming new album, “And Then There Were None.”
Monday, August 23, 2021
Sunday, March 21, 2021
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: https://andjusticeforart.bigcartel.com/product/ajfa-vol-3
Saturday, July 25, 2020
Saturday, April 25, 2020
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 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.
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.
Saturday, April 18, 2020
Tuesday, December 10, 2019
In this video, AMORPHIS' guitarist, Esa Holopainen, reviews the book ...AND JUSTICE FOR ART. He calls it "a masterpiece!" Get your copy while supplies last at: https://andjusticeforart.bigcartel.com/product/and-justice-for-art-stories-about-heavy-metal-album-covers-volume-2
Monday, August 26, 2019
THE CHUCK SCHULDINER RE-ISSUES: A Conversation with Death/Control Denied's former manager, 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.
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.
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.
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.
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.
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?
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.
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.
Monday, August 12, 2019
For wholesae orders, feel free to contact us via firstname.lastname@example.org
Here are some personalities from the Metal world with their copies of the book, including Max Cavalera (Soulfly) and Oystein Brun (Borknagar).
Monday, August 5, 2019
|The original artwork.|