ALBUM COVER STORY: DISSIMULATOR's "ARTIFICE DISSOLVES"

Canadian Sci-Fi Death/Thrash band, Dissimulator, is unleashing its new album "Artifice Dissolves" on October 2, 2026. The Montreal-based trio used the talents of American artist, Noah Cutter Meihoff, to create the record's cover artwork which depicts a biomechanical tableau. Below, Meihoff and Dissimulator's vocalist/guitarist, Claude Leduc, talk about the origins and creation of this piece. 

What is this cover artwork portraying and what inspired this concept/idea? 

Claude Leduc: One of the core assumptions in the album’s concept is that our relationship to technology ultimately affects the way humanity understands itself. In some ways, the circular composition of the album art follows the western historical cycles of this relationship, from its vital yet dangerous potential in antiquity (note: “art” and “technology” share etymological roots through the Greek tékhnē), to modern classical analogies of living automata, to currently popular cybernetic and computational analogies of living systems, and finally to the hypothetical dissolution and disembodiment of consciousness into data flows.

Noah Cutter Meihoff really knocked it out of the park with this piece. At the time we discussed the ideas and inspirations behind the music and lyrics, I had the main thread of the aforementioned theme but no clear vision of how it should be represented visually. Noah did an amazing job synthesizing all of the (sometimes disparate) references I threw his way into a tight and cohesive composition packed with symbolism. It’s the kind of artwork that you can stare at and explore while listening through the album, and we couldn’t be happier!

Noah Cutter Meihoff: An altered human form has ripped out their own brain and spinal cord, triggering a biomechanical transformation. They possess mythological traits that harken to both Icarus with a melting wing and Prometheus with a liver being torn out. Each trait is the consequential result of both the attempt to gain power and grant it. 

The whole composition is cyclical, centered around the red eye-like AI apparition that stands as the pivoting point for all transformation. It lurks in the back, breaking down the plane of reality and morphing everything that passes through it. Flesh turns to alloy, alloy to machine, machine to circuitry, circuitry to data. As it cannot be reduced to more than data, it dissolves entirely into burning pixels set afire by the eye. Before the human's full demise, it morphs into an artificial being with a head, wing and arm made of circuitry as it harnesses the AI's "fire." However, the fire is a mere imitation and doesn't actually illuminate anything, only burning what it comes into contact with. There's even a hint of the flesh itself directly disintegrating into data on the left leg. In an attempt to achieve perfection, the AI doesn't only eat itself but also the very people who spawned it by destroying their own humanity in the process.

Dissimulator's square symbol appears on the bottom left of the cover artwork.

Why did you choose Noah Cutter Meihoff as the cover artist?

Claude Leduc: Above all, we were looking for an artist that could capture as much as possible the tone and feel of our music. Noah’s art not only has a certain “luminous” quality that lends itself to the neon-tainted cyber-whatever aesthetic we were going for but also packs a heavy amount of detail, which obviously lends itself well to this kind of aesthetic.

Noah, what can you tell us about the artwork's creative process?

Noah Cutter Meihoff: The media and techniques used to create this cover involve both a mixed media and digital process. The traditional portion begins with a very loose acrylic monoprint. This means painting each color layer on a plexiglass plate and pressing it to paper in multiple passes to build up a textural foundation to work from. Then the details are blocked in with colored pencil in the areas that need them, while keeping the original rough textures in others to maintain the overall gesture. While the final art is still made from a tight sketch, this method keeps an interpretive randomness to the final product. That makes up for about 90% of the process, with the remaining 10% being a few digitally painted touch-ups to tighten up some areas. This made the overall process a conceptual challenge too, as digital imagery like pixels were drawn using traditional media.

The band's logotype

Dissimulator's square symbol (which evokes the shape of a chip) appears on the artwork's bottom left. However, neither the album title nor the band's logotype appear on the cover. Why?

Claude Leduc: The logo was done by Charles Benoit, a local graphic artist who’s done logo design work for many bands coming out of Québec, including Incandescence, Chthe’ilist, Sutrah, etc. We went for something bold that fit the band’s sci-fi theme but that also recalled 80s Thrash Metal logos.

With this album, I like the idea of the band’s symbol appearing organically within the artwork. It signals the band behind the music all the while letting the artwork speak for it in a sense. I’ve always felt like there’s an aura to albums that just have the artwork on the cover. We did the same thing with the vinyl of our first album "Lower Form Resistance." I just like the aesthetics of it.

Noah Cutter Meihoff: I’m a big fan of integrating logos and/or titles directly into the actual artwork. It doesn’t always call for it, but when the opportunity presents itself it can be an extra immersive feature. I often think of Autopsy’s “Retribution for the Dead” as a unique cover because the band name and title are literally a part of the art itself. Although subtler, a similar logic goes into the abbreviated Dissimulator logo like a chip connecting to circuitry surrounding it.

The album is available at: https://20buckspin.bandcamp.com/album/artifice-dissolves

See more of Noah Cutter Meihoff's work at: https://ncmeihoff.com/

ALBUM COVER STORY: ARKTHEOS' "COSMOLITH" (REISSUE)

Canadian Blackened Death Metal duo, ARKTHEOS, is releasing on physical media (CD and LP) of their debut album, "Cosmolith" (2025). The cover illustration was created by American artist, Adam Burke. Below, Arktheos' vocalist/guitarist, D. Ibson, talks about this mysterious nocturnal scene. 

The cover of "Cosmolith" shows a wintery nocturnal scene, full of drama and magic. What inspired this concept? What is this scene portraying?

D. Ibson: Our music is heavily inspired by the vastness and beauty of the night sky, and how across history, so many cultures have seen the sky as the home of the gods, spirits, ancestors, and so on. It is one the central means through which those otherworldly beings interact with the material world.

Even in modern times, we intuitively feel that the sky is a magical thing. Especially on a clear night, when the moon is full and the stars are bright. It is a humbling, awe-inspiring feeling to gaze up into glittering infinity. So many of our modern holidays, even those which are now fairly secularized, still possess a kernel of that tradition of observing and celebrating the movements of celestial bodies. Humans love the sun, the moon, and the stars, and we assign significance to moments when they change trajectory or cross a threshold. Humans have done so for thousands of years, and sometimes, when we find a good spot to do so, we stand up a few great big rocks to mark it. 

The human figure in the cover is one such hypothetical stargazing animist, communing with nature and the cosmos, on a clear night when the sky is full of stories, messages, and otherworldly beings. The monolith is not an object of worship, but a tool and a participant in this communion, a conduit through which the observer strengthens their connection to infinity.

How did the artist, Adam Burke, become involved with the creation of this cover artwork?

D. Ibson: It was very straightforward—a friend showed me his work and I was really blown away. I simply reached out to him online, we threw some ideas around, and he got to work. He was a pleasure to work with.

The original illustration.

Can you reveal any details about the creative process?

D. Ibson: I described a basic concept, basically "tiny dude and magic rock in the snow at night" and Adam came back to me with a fairly detailed pencil sketch of the painting's composition. We went through a few iterations before he began working on the finished piece, which is acrylic paint on wood.

Finding an artist who works with a physical medium was really important to me. I have no problem with digital art per se, and we use it elsewhere, but to me there is something very special about a tangible piece of art made by hand. I'm a sucker for dramatic classical landscape paintings, and Adam has a gift for it. I love how in so many of his works, there are humans in them, but they are tiny in comparison to a vast and foreboding landscape.

The frame surrounding the illustration really complements the other elements in the cover. Who designed it?

D. Ibson: This was designed by Ruth Redmond, [Arktheos' drummer] Taylor's wife and our in-house graphic designer. The frame makes it look more "complete" to me, and I wanted it to reflect the vibes the logo. Ruth is a full-time illustrator and has a talent for turning our ramblings into something visually pleasing.

The band logo is very distinctive. It evokes the shape of a mountain that go hand-in-hand with the rest of the cover's visual elements. 

D. Ibson: The logo was designed by my friend Michael Marshall. I started by sketching something more along the lines of Roger Dean Prog Rock logos, but I wanted something more abstract. I asked Michael to take the basic letter shapes and make it into more of an illustration, depicting a sort of swirling fluid energy. We liked the idea that it's a shape more than it's a word written down. So, it started from this very calligraphic, classic typograph, and became almost a figurative depiction of one of the central themes of our music, the chaotic life-force that flows through all things. 

The album is available on CD and LP through Hypaethral Records at https://hypaethralrecords.bandcamp.com/album/cosmolith

See more of Adam Burke's work at https://www.facebook.com/Nightjarburke

ALBUM COVER STORY: ANATOMY OF HABIT's "PAIRED SENTINELS"

American collective, Anatomy Of Habit, has returned with a new album titled, "Paired Sentinels." This recording offers an intersection of post‑Punk, Doom Metal, Industrial, Noise‑rock and Shoegaze. Such musical mixture is reflected on the front sleeve which features the piece "Untitled (Sedlec Ossuary)" created by Australian-born artist, Jeff Gibson. In the following interview, vocalist Mark Solotroff talks about this image and other related topics.

How did you discover Jeff Gibson's artwork "Untitled (Sedlec Ossuary)"?

Mark Solotroff: I discovered Jeff's work through my close friend and Bloodyminded bandmate, Pieter Schoolwerth, whose own artwork we previously used on Anatomy of Habit's second album, "Ciphers + Axioms." Until very recently, Jeff was the managing editor of Artforum, a magazine that has covered Pieter’s work. After getting to know Jeff over a period of time, and after he saw Bloodyminded play a show in New York, he actually approached me with this specific piece. He thought it might resonate with me and that I might want to use it in a musical context. After my wife and I spent time looking at it and discussing it, it became crystal clear to us that it would be the absolute ideal visual identity for the new Anatomy of Habit record. My bandmates loved it right away and supported the decision.

Why did you choose this piece as the cover artwork for "Paired Sentinels"?

Mark Solotroff: "Paired Sentinels" is an album deeply concerned with emotional thresholds, the erosion of identity, and the unstable structures that shape longing and loss. Jeff’s piece, with its incredibly dense, layered montage of anatomical diagrams, sharp urban structures, and reflective surfaces, captures that exact tension. The title of his work references the famous Czech chapel known for its intricate bone architecture. That concept of taking something raw, mortal, and fractured and arranging it into a rigid, deliberate structure perfectly mirrors how we approach songwriting. It felt like a natural visual anchor for the album's themes.

Can you talk about the process of getting the permission to use the artwork? Did you personally contact Jeff Gibson?

Mark Solotroff: Because Jeff had approached me directly with the piece, the process was incredibly organic. It wasn't a matter of cold contacting an artist out of the blue to ask for permission; it grew out of a genuine personal connection, mutual artistic respect, and an ongoing dialogue. Once we formalized using the piece, we handed it over to Jonathan Canady, who has meticulously handled the graphic design and visual presentation for every single one of our releases since day one. Jonathan knows our aesthetic inside and out, and he did an incredible job framing Jeff's artwork and establishing the typography to ensure the physical packaging across the LP, CD, and cassette formats felt completely cohesive.

In your opinion, why is this artwork a visual representation of the album's music and lyrics?

Mark Solotroff: Musically, the four compositions on "Paired Sentinels" balance a monolithic, heavy force with patient, open moments of vulnerability. The songs rely heavily on repetition. Not to circle back to where we started, but to dig into the same patch of earth until we uncover something foundational. Jeff's artwork operates the same way. It isn't passive; it demands sustained looking. The juxtaposition of cold, geometric urban lines against raw anatomical elements mirrors the tension in my lyrics, which constantly move between stark external observation and ritualistic internal monologues. It visualizes the delicate, rigid frameworks holding human desire and anxiety in place.

The band's logo/symbol (featuring five nails/spikes) is quite interesting and memorable. Can you tell us about its meaning, origins and design?

Mark Solotroff: The origin of the symbol actually traces directly back to our sonic roots and our first percussionist, Blake Edwards. Early on, Blake introduced the use of actual railroad spikes as percussive striking instruments in our live setup, which became a signature element of our sound. Because Anatomy of Habit has always been a five-piece band, we decided to take five of these weathered nails/spikes and arrange them into a distinct formation that visually represents the quintet. We then worked with Jonathan Canady to refine that concept into a clean, geometric icon that stepped away from standard metal or post-punk tropes. While people often guess that the shapes are sticks, bones, or casting stones, they are fundamentally rooted in our physical instrumentation. That primitive, industrial minimalism captures the rhythmic architecture of our music, anchoring our collective identity into a singular, recognizable glyph.

Pre-order "Paired Sentinels" at https://anatomyofhabit.bandcamp.com/album/paired-sentinels 

See more of Jeff Gibson's work at https://jeffgibsonjeffgibson.com/

THE PULL THE PLUG PATCHES INTERVIEW

Pull The Plug Patches is, beyond any reasonable doubt, one of the Metal scene's most interesting apparel creators/distributors. Based in Australia, this company manufactures and sells all kinds of artist-licensed merch—from small patches and pins to clothing lines based on the visual lore of emblematic Metal bands. In the following interview, founder Simon Springer reveals many details about Pull The Plug Patches' past, present and future. His words reveal why this independent venture have become a reference for thousands of fans around the world.

When and how did Pull The Plug Patches start?

Simon Springer: Pull The Plug started in 2018 out of frustration with the state of the patch scene. Most products were either unofficial or poorly made. We set out to raise the standard. Our priority was fully licensed, properly constructed woven patches that actually respected the bands and the artwork. That foundation is still what defines our company today.

Was your goal to become an international brand?

Simon Springer: The goal was to set a new benchmark. Once you operate at that level (licensed, consistent and quality-driven) the audience becomes global by default. The international growth followed that.

Licensing artwork from bands and artists—is it difficult? 

Simon Springer: It’s difficult, and it should be. Licensing requires established relationships, trust and a proven track record. We work directly with bands, management and official licensing agencies, and every product is approved before production. It’s a barrier that separates serious operators from everyone else.

A selection of the company's patches.

You offer a broad variety of designs across many Metal/Rock subgenres. 

Simon Springer: We focus on bands and records with real cultural weight. At the same time, the artwork has to translate into a woven format at a high level. Not everything does. We’re selective. The goal isn’t to release more, it’s to release better. That’s why the catalogue holds its value.

Can you take us through the process of creating a patch?

Simon Springer: It starts with securing the license and approval to use the artwork. From there, the design is rebuilt specifically for weaving, not just copied. We go through multiple sampling and revision stages before anything is approved for production. Every stage is controlled. If it doesn’t meet the standard, it doesn’t get released.

Your product line has expanded significantly. Can you tell us more about that?

Simon Springer: The expansion reflects the audience we built. Battle vest culture was relatively niche when we entered. Since then, it’s had a major resurgence, and we’ve played a central role in shaping how that looks today. We set the tone, the aesthetic, and the expectation of quality. Everything we’ve expanded into follows that same standard - licensed, limited, and built properly.

Pull The Plug Patches' mascot is called Patchie. He's at the center of this illustration
(created by Dan Goldsworthy) surrounded by motifs and characters from iconic Metal albums. 

Your typical customers apparently are Metal/Rock fans. 

Simon Springer: Our core audience is individual fans and collectors. That’s where the culture lives. We are looking into working with select wholesale partners, but maintaining control over the product and brand experience is more important than scale. 

Have you received feedback from bands?

Yes. Because everything is licensed, they’re directly involved. That relationship is a key part of what we do.

What are the main challenges as an Australian company selling and distributing globally?

Simon Springer: Logistics. Shipping internationally from Australia adds cost and complexity—timelines, customs, duties. It’s something we’ve built systems around, but it remains one of the biggest operational challenges.

Use the code JUSTICE to get 10% discount on your next Pull The Plug Patches order.

The team is relatively small. How does that work?

Simon Springer: It’s a small, focused team with a high level of accountability. That structure allows us to move quickly and maintain control over quality. We’re hands-on across everything. That’s a big part of why the brand has developed the way it has.

How do you see Pull The Plug developing over the next 5 to 10 years?

Simon Springer: The goal is to continue defining the space. Pull The Plug has become the benchmark—everything in this category is measured against what we do. The next phase is about expanding that influence while maintaining the standard across new product categories, new collaborations, and a broader role in collector culture.

Visit Pull The Plug Patches' official store at www.pulltheplugpatches.com

Follow Pull The Plug Patches at                                    

www.facebook.com/pulltheplugpatches

www.instagram.com/pulltheplugpatches

www.tiktok.com/@pulltheplugpatches

ALBUM COVER STORY: SHRINEBURNER's "HYMNS OF DESPAIR"

Shrineburner is Sludge/Doom Metal Trio based in Chicago, United States. On September 11, 2026 they will release their debut album, "Hymns Of Despair." Its front sleeve will feature an illustration crafted by fellow countryman artist, Joshua Hondros. In the following interview, Hondros and Shrineburner's guitarist/vocalist, Peter Norman, talk about this arresting art piece. 

The album cover artwork depicts a menacing creature with multiple heads. It's an image that seems to have Asian influences. What inspired this ominous vision?

Joshua Hondros: The album cover is a direct result of pushing the energy and power of the album as is chronological in one illustration, without hearing it yet—along with the turbulence and unsettling time it was done.

Peter Norman: We wanted something that absolutely conveyed the title of our record without having to actually stick the title on it. Initially, we didn’t even want the band logo on it and wanted to simply let the painting speak for itself. But we ended up opting for some sort of recognition by putting a small logo in the upper left-hand corner. We’re big fans of 80s Metal artwork but we wanted something unique, so working with a painter as amazing as Josh, we gave him pretty much free rein to create as he saw fit, within a very broad general prompt. The idea was that another set of eyes outside of the band would add another layer to the artwork and record. The result is this visceral four or so headed devil sitting in a bloodbath. You could zoom in on it and find a new detail for the rest of your life. There are tons of cool hidden faces, snakes being eaten, etc. I think it vibes perfectly with the dynamics of the tracks on the record.

This image has obvious influences from ancient cultures' painting traditions, which is a constant presence in Hondros' work. Was the artist's signature style the main motivation to collaborate with him? 

Joshua Hondros: The painting is influenced heavily by old religious imagery back to the 1400’s, old lithographs, and other Old Testament imagery. I’m honored to be asked to have a small place on the album.  

Peter Norman: I’ve been a fan of Joshua’s artwork for years, he’s been a really prolific tattoo artist in Chicago offering a really unique twist on classic styles, and offering a level of detail and creativity in his paintings that I think is mind-blowing. He’s able to make something seemingly so simple pop in ways I don’t see often, or at all. The dude has vision! We were really stoked that he was interested in working with us.

Do you know what techniques/medium were used to create this piece?

Joshua Hondros: It’s drawn with a pencil, drawn on paper, painted with a brush, acrylic, water, coffee, India ink, gouache.

Peter Norman: Everything Joshua does is paint to paper. That was another huge draw for us. No shade whatsoever to digital artists. I have done the majority of our T-shirt designs and artwork in the past and we wanted to deviate from that, like I said earlier, to get fresh eyes and a different take on this. We really wanted a unique physical painting to use for the front cover, but something we could also hang in our studio as a reminder of the awesome time we had writing and making this record. We feel supporting local artists is of the upmost importance, especially in a sea of AI laziness, so working with an artist outside of the band was really awesome for us. We’ve been really lucky to work with some incredible artists as a band.

You mentioned that the band's logo wasn't going to be featured in the cover. But you eventually changed your minds. Can you talk about the logo's origins and design process?

Peter Norman: Our logo has undergone quite a few iterations, all of them made by me. This current one was actually inspired by Joshua’s cover art—I wanted to add a chain element to our already existing logo. It seemed to my eye this subtle detail would fit well with the chains in Joshua’s artwork, but we weren’t interested in entering classic “illegible font” territory. 

The logo was created entirely in procreate on my iPad, with the first iteration making its debut on a poster for a weekend run in Iowa earlier this year—I believe. It is essentially a heavily modified version of the JSL Blackletter font. I did a bunch of different drawings until I reached one that I liked and then ran it through an image capture to add grit to it. The chains became a part of the design after receiving Joshua’s incredible painting. Like I mentioned earlier, we wanted to make sure the focus was on the painting, so we opted for a small logo and decided a title on the front cover would only take away from the immaculate detail in Joshua’s work.

"Hymns Of Despair" can be pre-ordered at 

https://shrineburner.bandcamp.com

See more of Joshua Hondros' work at

https://www.instagram.com/j_hondros/

ALBUM COVER STORY: SHABTI's "HAZE, CACOPHONY, AND WHITE LIGHT"

American Death Metal act, Shabti, will release its new album "Haze, Cacophony, And White Light" on August 21, 2026. The monochromatic cover artwork was crafted by Indonesian artist, Ibay Arifin. Below, Rob (the band's guitarist/vocalist) and Arifin himself talk about the creation of this piece.

Can you tell us about the origins of the album cover concept? 

Rob: One of the concepts that we suggested was an illustration of chaotic, ghostly forms in the mist as this reflected the title of the album, "Haze, Cacophony, And White Light." We did not give any guidance other than that, as I wanted Ibay to feel free to develop the art as he saw fit.

Ibay Arifin: "My personal inspiration for this piece comes from Gustave Doré’s [illustration] "The Empyrean." I love how Doré captures circular light, with angels swirling toward its surface. I fused this aesthetic with the core concept of the album "Haze, Cacophony, And White Light." It embodies the idea of souls fading away into a white light—though in my adaptation, I transformed that light into a black circle."

How did Ibay get involved with this project?

Rob: We reviewed Ibay's work on Instagram at the suggestion of Jon from Contemn Light, and we were impressed so we reached out to commission album art. His style fit the aesthetic of the album and I appreciated his technical prowess, compositional skill and attention to detail.

Ibay, how did you create this artwork?

Ibay Arifin: Here, I used line art and detailed dotting with white lighting behind it. This piece is a mix of manual and digital work. I started with a sketch on paper and then executed it digitally using a pen tablet, keeping a black-and-white theme for the artwork.

The cover also features the band's logo, which looks fairly distinct. Who designed it?

Rib: Our former bassist, Denis, worked at a tattoo shop in Portland and one of his coworkers (Elizabeth) designed the logo for us about fourteen years ago. I am not sure if she is still tattooing or creating art and unfortunately, I do not have any insight into her design process. I think the logo is a good representation of the band; legible but undeniably a Death Metal logo with an old school feel.

Pre-order "Haze, Cacophony, And White Light" at  https://shabti.bandcamp.com/album/haze-cacophony-and-white-light-2

See more of Ibay Arifin's work at https://www.instagram.com/shabti_official

RECORD COVER STORY: UNDER AUBURN SKIES' "DIMINISHER OF HOPE" (EP)

American Metalcore quintet, UNDER AUBURN SKIES is releasing a new EP titled, "Diminisher Of Hope" on July 17, 2026. The cover illustration was crafted by Róbert Horváth of Holo Dreamz Designs. Below, guitarist Oscar Morales talks about the creation of this image.

What or who is this shrouded figure in the artwork?

Oscar Morales: It’s supposed to represent a sort of a grim reaper figure as death is a big part of this record; not so much in a physical but in a more metaphorical sense. There are many themes of “the death” of trust, friendships/relationships and even peace. With the title being “Diminisher of Hope,” it helps tell the theme of hardships and depression that we try to express through (vocalist) Sebastian’s lyrics and my style of composing.

How did Róbert Horváth become part of the project?

Oscar Morales: Róbert Horváth runs Holo Dreamz Designs. For this record, we kind of were in a darker tone as a whole so we kind of wanted an artist that delve in that type of art that would capture that in some form of artwork. Róbert has quite a bit of versatility in his work and when we told him what we were looking to do, he nailed it on his first try. He really is something special.

The spontaneous brush strokes suggest that Robert might have used traditional mediums. However, he's a digital artist. Do you know what mediums/techniques he used during the design process?

Oscar Morales: Honestly, not a clue ha, ha. We gave Róbert context of our idea and how these songs reflect several themes of depression, forms of death and losing hope for many things and he just nailed it!

The cover features a typographic version of the band's logo. However, you also use a circular symbol that features a wolf.

Oscar Morales: The wolf emblem and logo were a fun thing we did to try and rebrand ourselves. The very first logo we had as a band was more "cursive-ish" and was a hard play on the older Parkway Drive font (big influence back in the day). When we were working on our second EP ("Invention Of Reason") we evolved as not only a band but our whole sound to compete and try our hand on the more modern/progressive style that Metalcore has turned into. So, the logo went towards that type of style like Volumes, Structures, Hollow Front, and bands like them. 

The emblem regarding the wolf really sat with us with our band name. We were all big fans of blood moons (at the time of forming) and the tale of two wolves. So, we kind of just carried on with it, you know? We all have dark and light sides of ourselves and figuring them out yourself helps tell the story of one or the other. These songs might come from dark places in our lives, but we also see the light and good of releasing these emotions and finding peace and closure of letting it all go.

Pre-order "Diminisher Of Hope" at https://underauburnskies.bandcamp.com/album/diminisher-of-hope

RECORD COVER STORY: MOTHS' "CROWN JEWEL" (SINGLE)

The cover for the single "Crown Jewel" by Puerto Rican Doom/Progressive Metal band Moths was designed by fellow countryman artist, Ricardo Sanchez. Below, bassist, Weslie Negrón, talks about the creation of this monochromatic graphic.

What inspired the cover concept and what is this artwork representing?

Weslie Negrón: “Crown Jewel” was written as the theme song for Puerto Rican wrestler, Gema. Since “Gema” translates to “Crown Jewel,” the concept was inspired by her name and overall character. The crown symbolizes that idea directly, while the chains reflect elements that are part of her wrestling persona and aesthetic.

We wanted the artwork to incorporate all of these elements. After explaining the concept to Ricardo, we gave him complete creative freedom to interpret and bring the vision to life in his own way.

How did Ricardo Sanchez become involved in this project?

Weslie Negrón: We’ve worked with Ricardo before. He’s one of the best artists in Puerto Rico when it comes to capturing gruesome, grotesque imagery with incredible attention to detail. He previously created the artwork for our second T-shirt back in 2017, the artwork for our cover of Black Sabbath’s "Hand of Doom" released in 2020, and poster artwork for our "Space Force" album release show in 2022. It’s always a pleasure working with an artist of such a high caliber.

This image seems to be created through traditional techniques/mediums. 

Weslie Negrón: Ricardo worked with pencil and ink on paper. He also incorporated India ink and white ink to add contrast and highlight certain details. The piece was created using techniques such as pointillism and cross-hatching, allowing him to build depth, texture, and shadows throughout the image.

The logo featured on this cover has appeared on other releases. What can you tell us about its origins?

Weslie Negrón: This particular logo was designed by our guitar player, Omar González, who is also a very talented artist. He pitched the idea of creating a logo for the band a long time ago, and it ended up working out perfectly.

Omar has mentioned that he didn’t have anything extremely specific in mind when designing it. His main goal was to reflect the darker and more extreme roots of our latest album ‘Septem’ in this version of the logo. He was also inspired by the logo used by Lamb of God for their album "Wrath," particularly the way the letters in the acronym appear in different sizes. Along with that influence, he wanted the logo to have a sharp, pointy aesthetic to match the aggressive feel of the band.

"Crown Jewel" is available at https://mothspr.bandcamp.com/track/crown-jewel 

See more of Ricardo Snachez's work at https://www.facebook.com/rs.grafiko

RECORD COVER STORY: BLACKSTAFF's "DROWNER" (EP)

Blackstaff is the brainchild of American multi-instrumentalist and dark fantasy aficionado, Dustin Cleary. This Blackened Doom Metal solo project is releasing its new EP, "Drowner " in July 2026. Its blue tinted cover artwork distills a brooding atmosphere that allures listeners into the concept of the record, which is inspired by the Will-o'-the-Wisps or ‘hag lights’, the atmospheric ghost light seen by travelers at night, especially over bogs, swamps, or marshes. Below, Cleary talks about this mysterious vision.

This artwork basically reflects the main theme of the EP, "Drowner." Can you tell us more details about this concept?

Dustin Cleary: The cover concept was a dark, moody swamp setting with a creature lurking beneath the surface of the water, and glowing balls of light dancing above. This is the theme of the record. It was very much inspired by the "will o' the wisp" that hypnotizes and leads travelers to their death in the swamp.

In the story, these lights lead unwitting travelers deep into the swamp and into a certain pond where something waits for them. Some are pulled down and consumed or made undead; others are delivered to the swamp's true master, to suffer and be harvested for parts. 

The creator of the cover Putra Satria, an underground artist from Indonesia. How did you discover his work?

Dustin Cleary: I first discovered the artist on Instagram, which is how my relationship begins with most artists I hire for my project. His account is @putrasatrianug. I saw a piece that stood out to me, and his style seemed like a good fit for my ideas. Putra has also done a t-shirt design for me, the "hungry wizard." 

Do you know how Putra created the artwork?

Dustin Cleary: His mediums are ink and digital coloring. He has some cool in-progress videos he makes on his profile to showcase his method.

The cover also features a logo you've been using for a relatively long time.

Dustin Cleary: Similarly, the logo was a commissioned piece, this one by a person who solicited me in my DM's back when I first started. In those days, I had just been making instrumental riffs to post on Reddit and had recently begun to get more serious about my craft, and this was one of my first decisions to begin collaborating with artists. We talked concepts (I wanted something that looked more retro than brutal, and I wanted a certain kind of staff in the logo), and the logo you see today is what came of that correspondence. I wish I could direct you to the person that did the piece for me, but a look back into my DMs has yielded several "deleted_" account names where I would expect that conversation to be.

"Downer" EP is available at

https://blackstaff.bandcamp.com/album/drowner-ep

See more of Putra's work at 

https://www.instagram.com/putrasatrianug/

ALBUM COVER STORY: TELOCH VOVIN's "TOWARDS THE INEVITABLE"

American Black Metal provocateurs, Teloch Vovin, recently unleashed their new studio album, "Towards The Inevitable." The artwork featured on the cover of this sonic maelstrom was designed by Eam XI, an artist that specializes in creating darkly symbolic visions. In the following interview, Eam XI himself and Grigori (Teloch Vovin's guitarist/vocalist) talk about the origins and creation of this obscure piece. 

This piece seems to occult/esoteric overtones and apparently depicts some sort of cosmic event.

Eam XI: The cover concept of this artwork represents a black hole—a gateway where identity, cosmic order, and perception dissolve into the unknown. It represents the Nightside, the anti-cosmic void, and the initiatory descent into hidden consciousness, often associated with chaos, inversion, and transcendence through darkness.

Rather than illustrating a literal scene symbolizing mere destruction, the black hole in this artwork is viewed as a transformative vortex: a womb of gnosis, devouring the material vessels of limitations where spiritual rebirth occurs through ego dissolution and confrontation with the abyss. Across these traditions, it embodies the idea that true illumination is found not through ascent into light, but through immersion into the fertile darkness beyond creation and conventional understanding.

Grigori: Eam XI and I talked over the ideas and concept that I had for the cover art, which was inspired by a recurring dream where I saw all the universes in the multiverse existing on the event horizon ov a super massive black hole and thru a withdrawal ov the aeonic and Pranic energies that sustain the universe/multiverse liberation is found. The cover art is a visual manifestation ov the Grand Mahapralaya I witnessed in my dreams!!! Which, as Eam XI so eloquently stated above, relates to more than just the physical death ov the Universe.

Eam, how did you become part of this project?

Eam XI: Grigori contacted me through social media platforms. after seeing my past works, the collaboration happened through a mutual understanding of aesthetics, philosophy, and atmosphere. There was already a shared appreciation for esoteric traditions, sacred transgression, and the visual language associated with occult and metaphysical art. Because of that alignment, the process became less about “commissioning an image” and more about translating a current into visual form.

It seems that you had several creative and philosophical exchanges before Eam crafted the artwork.

Eam XI: The discussions around the artwork were centered more on concepts, energies, and symbolic resonance rather than strict visual instructions. The goal was to create something that felt timeless and unique—an image that could stand not only as an album cover, but also as a portal into the psychological and spiritual world surrounding the music itself.

Grigori: As soon as I saw some ov Eam XI’s artwork I just knew he was the one to turn my dream's vision into a manifested reality. I knew that he and I would connect on a deeper spiritual level and once we talked, I was proven correct. Eam XI just totally understood the deeper levels and concepts I was trying to convey with the cover art. Our shared Spiritual viewpoints allowed us to communicate the ideas expressed within the cover art rather easily and then I just let him get down to his work. Cover art is supposed to paint you a picture of what the album you are about to listen to feels like and did Eam XI fucking nail it!!! 

This illustration combines different aesthetics, mediums and techniques. Can you comment about it and the overall creative process?

Eam XI: The artwork was executed primarily through mixed media painting techniques, using watercolor, acrylics and ink strongly rooted in classical Tenebrism methodology while incorporating a more contemporary ritualistic atmosphere. Much of the visual language was influenced by the traditional layering approach.

Layering, glazing, and controlled texturing were essential in building the luminous darkness within the piece. The shadows were treated not as empty space, but as living substance—something dense, immersive, and almost metaphysical. The illuminated areas were intentionally restrained so the light would emerge from the darkness in a more spiritual and dramatic way. The fog-like diffusion and distressed textures were also important elements, helping the image feel simultaneously ancient, decayed, and visionary. Timo Ketola's works were a major influence in terms of composition and monumental atmosphere, particularly in how the figures and symbolic structures interact with negative space and overwhelming darkness.

The official cover also includes an ominous red eye, the album's title and Teloch Vovin's circular logo/symbol. What can you tell us about this symbol?

Grigori: The round Teloch Vovin Sigil logo is inspired by the Sigil Magick of Austin Osman Spare and is made up ov the 11 English letters in the name Teloch Vovin and the 5 Hebrew letters in Death’s Pentagrammaton arranged in a sigillic representation ov the Tree ov Death.

"Towards The Inevitable" is available at  https://telochvovin288.bandcamp.com/album/towards-the-inevitable-2

See more of Eam XI's work at https://www.instagram.com/theartofeamxi