INTERVIEW WITH RCMPATCHES: MERCH AND PATCHES FOR THE WORLD

Based in Edmonton, Canada, RCMPatches is a company dedicated to producing merch for a broad variety of Metal/Rock ventures. Its mission is to help artists and businesses to offer their fans high-quality products. In the following interview, one of RCMP's founders talks about the company's maneuvers.

RCMPatches' logo, desgined by Michal Proninski.

What motivated you to start a project like RCMPatches? 

RCMPatches: RCMPatches was bred out of the desire to work in conjunction with bands I loved in an official capacity, to offer an alternative means of income for those bands, as well as hopefully helping people to discover new music that they may not have otherwise heard. At the end of the day, it's obviously nice to sell patches so I can make more, but if someone discovers a band that impacts them in a special way, that's what my goal truly is.

There are a lot of bootleg merchants out there and while I understand the value and the history behind bootlegs (live records, demos, merchandise, etc.) it's just not something I was personally interested in. For me, it meant a lot more to get a message back from a band I loved giving me the thumbs up to produce a design or a piece of merch and sharing that excitement with me than to just produce whatever I wanted. That also seemed rather lazy and too easy to me...it was always more satisfying to put in the effort and patience and then get approval from heroes of mine. I started in 2023 and have worked with pioneering legends of the death metal scene as well as up and coming legends in the making, and beyond that, I've built relationships and am grateful and honored to call many of these people my friends now. You don't get that just by bootlegging everybody's shit. I have nothing really against bootleg merchants at the end of the day, it just was not the avenue I wanted to take. 

It seems that your signature products are patches. Can you describe the process of creating a patch?

RCMPatches: The process really can take many different directions, but usually I'll develop a mockup of a design using some piece of artwork in the bands catalog, be it from albums, singles, t-shirts, or even old posters. A Possessed one I did in particular was taken from a design done for one tour in Europe, I believe it was 2019, and I used bits and pieces from that to create something new that hadn't been done before.

Other times, I've hired artists independently or worked with bands to hire artists to commission a piece that's used for a patch design. Although not exclusive, they're usually drawn from the start with the intent of becoming a patch. We've worked with many artists in the scene including Gruesome Graphx, Claw Eight and Michal Proninski. I've also commissioned artwork for patches without having had communication with the band, just so I had something unique to present them, which given my principle of only working officially with the bands, really becomes a gamble. If I don't make it through to them, it ultimately becomes a dead piece of artwork. I don't really mind in the end since it's ultimately commissioning an artist anyways, so the scene still gets some support at the end of the day. That really means the most to me. I'll forever be grateful to get to work with such talented individuals and to get to be a part of this community.

Some of the patches produced by RCMPatches.

Do you also produce any other kinds of merchandise?

RCMPatches: We have branched off into many different types of merchandise. I think, even if it wasn't a conscious thought or trajectory, it was always going to be a natural progression of things to produce different forms of merchandise and physical media. 

We've since done limited runs of t-shirts, long-sleeve shirts, all over print shirts, basketball jerseys, flags, lanyards, pins, unconventional things like fuzzy dice (which nobody seems to know were a thing, I guess? Haha) CDs, cassette tapes. Most recently, I worked with a killer band called Bonginator that surrounded the release of their latest album "Retrodeath" (featuring art by the amazingly talented Dan Goldsworthy and out now on Testimony Records) that consisted of 80s themed windbreakers, hats, fanny packs, and pit viper glasses. 

If a band wants something done, I will always do my best to find a way to bring an idea to reality. It's my favorite thing to do, especially when people tell me, "It can't be done." 

Despite being a Canadian company, you are an international business. You receive orders from all over the world. 

RCMPatches: We ship worldwide and have worked with bands worldwide as well. It's still surreal to me, having grown up in a small town of maybe 100 people and one main road, that people from Cyprus or Japan are ordering patches from me. I get a lot of customers from the UK as well which is really cool. It just goes to show you that Metal is a universal language that breaks down borders and division, and that transcendence of traditional language and thought is something truly beautiful.

RCMPatches and the band, Satorum, sponsored part of the bookmarks for the new book "...And Justice For Art: Stories About Heavy Metal Album Covers - Ultimate Edition."

You also distribute physical records by underground Metal bands. Tell us more about it.

RCMPatches: I've been an avid collector, fan, and supporter of physical media ever since I was a kid. It's truly an honor to get to work with bands now to bring those pieces of physical media to life. Right now, I've only released around 15 pieces between CDs and cassette tapes myself, although I carry hundreds of titles in my distro store (some of which I'm still working through uploading to the store). It's really insane to me, for example, to get to work with a band like Tenebro based all the way in Italy, but it really is the best feeling when I get to work with a band in my local scene of Edmonton. I look forward to eventually releasing an Edmonton collaboration tape that showcases what our city has to offer for metal. The scene here is absolutely blossoming with insane talent and musicianship that people need to hear. 

I've created a branch off of RCMPatches called Sputum Records and that's where most of my releases will be done through moving forward. I felt that many people who buy physical media don't care about patches, and lots of people who buy patches just want patches. It also sounds a bit better on a CD release to have "Sputum Records" as opposed to a patch company name. On an artistic note, both logos for RCMPatches and Sputum Records were done by Michal Proninski. 

How can bands and artists contact you to produce merch or distribute music?

RCMPatches: I do have a contact form on my website, www.rcmpatches.com, but bands can hit me up on Instagram or via email at contact@rcmpatches.com. Facebook is a bot ridden cesshole, so chances are if you message me there, I won't ever open it.

Any final comments?

RCMPatches: Support Death Metal, support your local scene, go to a show and mosh hard. 

ALBUM COVER STORY: EVERGREY's "ARCHITECTS OF A NEW WEAVE"

Swedish metallers, Evergrey and fellow countryman artist Mattias Norén of ProgArt Media - Artwork by Mattias Norén have worked together for more than 20 years. Their latest collaboration is the imagery Norén crafted for the band's new album “Architects Of A New Weave," which will be released in May 2026.

This hyper-detailed vision was traditionally painted and fine-tuned digitally and reflects aspects of the album's music and lyrics. in the following interview, Evergrey's vocalist/guitarist, Tom S. Englund and Mattias Norén talk about the making of this imposing piece.

What inspired the cover concept for "Architects Of A New Weave"?

Tom S. Englund: We wanted to do something that was more traditional in a Metal sense. When me and Mattias Norén started talking I let him know what I desired and that I also wanted a lot of nuggets and hidden messages, so that it would remind myself of the days when I was totally immersed into cover art of Iron Maiden mostly. So, there is a lot to discover if you dive in and examine it. If you also listen to the music, it will make a lot of sense.

Mattias Norén: The idea was born with a figure with threads that led to pictures where each picture represented a song from the record. I bought a paper twice the size of any watercolor I had done before. I didn't even have a base big enough to tape the paper to, so I had to buy a second-hand tabletop to be able to work with the project. The plan was that the cover would only be a small part of the entire painting. I thought for a long time about how to make the best use of this. I don't know if it was the ultimate solution, but it was good enough. I divided it into six parts, of which the cover is only one of the parts."

The image on the album's official cover is just a fragment of the complete artwork.

Tom S. Englund: The cover is indeed part of a pretty huge piece. Again, the old love for vinyl covers led us further and we wanted some art to represent almost every song of the album, and on the fold out versions of the album you get it all in all its glory! It's definitely one of Mattias's proudest moments, he told me so... but also for me and also knowing it's all done for real, with brushes and watercolor, then we added some of the nuggets digitally, but I own the original painting and can't wait to hang it on my wall at home!

Mattias Norén: I guess I will have to call this my "magnum opus." An enormous amount of time, love and effort that was invested in it.

Mattias also designed other illustrations for the album's layout/booklet. 

Tom S. Englund: Each and every page has more or less dedicated art for the song. Mattias has also painted more paintings for songs like "The Shadow Self," "Call of your Lions," etc.

You have collaborated (regularly and sporadically) in different projects during the last two decades. It has been a fruitful creative relationship.

Tom S. Englund: Mattias has worked on a lot of Evergrey's covers starting with our third album "In Search Of Truth" (2001). He did a bunch of them. Mattias also worked on some of the art for my band Silent Skies and I love his sense of art direction and also layout skills. 

Mattias Norén: It's now 25 years since I made my first cover for Evergrey. A lot of water has flowed under the bridge since then and the older I get, the more I want to explore what can be done with an album cover. It's easy to get stuck in old habits but I'm driven by trying new things.

Pre-order “Architects Of A New Weave" at https://napalmrecords.com/deutsch/evergrey

See more of Mattias Norén's work at https://www.progart.com/

ALBUM COVER STORY MOONSPELL's "FAR FROM GOD"

Israeli artist, Eliran Kantor, designed the cover for "Far From God," the upcoming new album by Portuguese Gothic metallers, Moonspell.

"This is an idea I've had in my head for quite a few years and was waiting for the right opportunity to finally flesh out," comments Kantor, referring to the powerful visual metaphor portrayed in this artwork. He and Moonspell's vocalist, Fernando Ribeiro, "started talking about possible directions [for the cover artwork] very early in the writing, and during the process, the music took a turn toward the interplay between the dark, the romantic and the melancholic. That's when this idea found its home."

"Far From God" will be released through Napalm Records.

Pre-order directly from the band at https://www.moonspell.rastilho.com/

See more of Eliran Kantor's work at https://elirankantor.com/

ALBUM COVER STORY: ARMORED SAINT's "EMOTION FACTORY RESET"

American Heavy Metal veterans, Armored Saint, just announced the release of their upcoming new album, "Emotion Factory Reset."

The cover artwork was digitally designed by graphic artist, DDKing. The main element of this graphic is a medieval knight that has been featured (in various guises) on the covers of some of the band's previous records. "We recognize we have an association with the imagery of a knight because we have used that on a few of our covers and even in merchandising," comments bassist Joey Vera.

"We played on the whole 'reset' aspect," Vera continues. "In my view, every time we make a new record, it's a new birth of sorts. A tearing down and rebuilding ourselves each time so that we give birth to something new or different. I was taking the idea of what Kali, the Hindu Goddess is. She destroys in order to liberate or renew. The fire you see is a representation of that destruction. The viewer is catching the knight during his shedding of old skin, and you can see he is not yet whole, and he is holding the flame as a way to show he is harnessing the change in himself. He's like a butterfly coming out of a cocoon."

Vera reveals that the original cover sketches were created with AI. However, he assures that DDKing created the definitive artwork digitally "until we were happy."

"Emotion Factory Reset" will be released on May 22 through Metal Blade Records. Pre-order at https://www.metalblade.com/armoredsaint/

ALBUM COVER STORY: W.E.B.'s "DARKNESS ALIVE"

Greek Symphonic Extreme metallers W.E.B. just released their powerful live record "Darkness Alive" through Metal Blade Records. The cover artwork was crafted by the talented Jon Toussas of Graphic no Jutsu, who has worked with the band in other projects.

"We decided to have almost zero input on the artwork...only a bit regarding the layout," the band reveals to And Justice For Art. "The concept is a man who is suddenly consumed by demons, while desperately tries to escape, all of us know he won’t make it. We always call our fans as “Demons” and maybe this guy is to become one of them."

The group's members assure that Toussas is "an artist we trust. He delivered something unique in his own way. He understands the band’s vision and it is easy to trust him with visualizing our music. Most of the times we just like to give him just a very brief description of what we want and he delivers something great with it."

"Darkness Alive" is available at https://webdarkmetal.bandcamp.com/album/darkness-alive and other streaming platforms.

See more of Jon Toussas' work at https://www.instagram.com/graphic_no_jutsu

ALBUM COVER STORY: OUTSHINE's "TRUTHSAYER"

Swedish Dark Alternative Metal band, Outshine,will release its fourth album "Truthsayer" through Eclipse Records on June 26, 2026.

The inspiration behind the cover is "a 'burning' world we live in," comments the band's frontman, Jimmy Boman. "Biased media and politicians are pushing so common people fight each other than rather questioning the system and the people in power. Elite agendas are pushed from celebrities to 'educate' common people how to think. This is dead wrong and the cover is representing that 'Truthsayer' is coming with common sense and that we should unite among common people. Truthsayer could represent you when you wake up and see the insanity with clarity."

The artwork was designed by Bowman using Photoshop to blend pictures taken by him, with other elements.

Pre-order "Truthsayer" at https://ffm.to/otstru

"MASTER OF PUPPETS" TURNS 40

Metallica's Thrash Metal masterpiece "Master Of Puppets" was released on March 3, 1986—exactly 40 years ago. The cover of the American band's third studio album features an artwork painted (apparently in three days) with acrylics, airbrush and paintbrush by late American illustrator, Don Brautigam. He was inspired by a concept provided by the band and by a sketch drawn by vocalist/guitarist, James Hetfield.

The original version of this piece featured feminine hands, which were later replaced for the "master hands."

The finished artwork doesn't include the band's marbled logo, which was added later. It was acquired by Metallica's former manager, Jon Zazula and his wife Marsha, who also owned Megaforce, the label that released Metallica's debut album, "Kill 'Em All" (1983). Years later, Christie's Auction House sold it for $35.000.

Don Brautigam's work has also appeared on the covers of Metal albums like Testament's "The Ritual," Metal Church's "The Dark" and Anthrax's "Among The Living," "State Of Euphoria" and "Persistence of Time." See more of his work at

ALBUM COVER STORY: MESSTICATOR's "TOTAL MASTERY"

German Death Metal band Messticator is releasing its new album "Total Mastery" on March 13, 2026 through Testimony Records.

The cover artwork was designed by Andreas Christanetoff of Armaada ART. According to Messticator's drummer, Maik Weinhardt, the cover's central character is based on the group's name. "We created the entity known as the 'Messticator'—a kind of deity that stands above everything and everyone, luring all that is evil toward its doom," Weinhardt says. "We had the title 'Total Mastery' in mind for quite some time, as it best describes the Messticator’s ultimate ambition: absolute control over everything and everyone."

The drummer remembers that they "gathered many ideas on how the cover could best convey the title, how to portray it in a powerful way, and how to create the right atmosphere. We created mood boards, collected inspirations, and wrote down how we envisioned the scene. A concept sketch was also developed as a visual guideline. As far as we know, the artwork was created digitally using Photoshop. The first step was a rough sketch by Andreas, and then he completed the artwork in three stages based on our feedback."

Pre-order the album at https://messticator.bandcamp.com/album/total-mastery

See more of Andreas Christanetoff/Armada Art's work at https://www.facebook.com/armaadaArt