This list could easily go to 20. Or 30. Or 50. The democratization of media and the flourishing of aesthetic thanks to wide-open digital interaction across national and cultural borders has meant that bands in Texas can get artwork from Spain easily — something we’ve come to take for granted in this age of messages flying through space in indeterminate instants. There’s a lot of art out there. A lot of it is very, very good. Not all, but a lot.
In the particular realm of heavy rock and doom, I’ve spent a lot of time this year being discouraged at the continued and apparently flourishing objectification of women. Cartoon tits. Get out of here with that shit. You’ll notice none of the covers on this list go that route. It’s boring, it’s easy and it’s sexist. If you want to establish your masculine dominance, go pull your dick out at the mall and see how that does for you. Putting other people down to make yourself feel bigger is for kindergarten. As human beings, we should be past it.
Nonetheless — and I’d be a hypocrite if I didn’t also note the lack of women on this list — there is a ton of interesting and forward-moving work being done around the world and I think that’s worth taking a couple minutes to celebrate even just a fraction of it. Hopefully you agree, and if you have some favorite art you’d like to add to the list, please hit up the comments.
Ordered alphabetically by artist
Sourvein, Aquatic Occult
Cover by Jordan Barlow. Artist website.
Sourvein‘s Aquatic Occult (review here) was a dense, multi-faceted work, and one imagines that for Jordan Barlow of New Orleans’ Abracadabra Tattoo, part of the challenge was in either finding or creating a design that coincided with that without coming across as confused or off-theme. This bevvy of undersea elements gives us a central figure in a frustrated Neptune with a shark-teeth crown, a human presence in the two diver helmets (is anyone in there?) and highlights the dangers of the ocean with its hammerheads and threatening-looking seahorse, as well as what seems to be a whirlpool and another swirl in opposite top corners. All told, the deep blue and green tones complement the morass of Sourvein‘s sound, raw and natural as it is, and provide moody intrigue to coincide with the wide variety of songwriting on display. Like the album, it is defined in no small part by its haze.
Holy Grove, Holy Grove
Cover by Adam Burke. Artist website.
Portland-based Adam Burke is something of a repeat offender when it comes to badass artwork. He regularly posts works in progress on social media and the lushness of his technique astounds me nearly every time out. Holy Grove‘s self-titled debut (review here) was far from the only piece of his a band used this year, but what stood it out most was the balance between nighttime — as seen in the stars and the darkness of the sky and trees — and the aurora borealis that offered such a rich, otherworldly feel. Beautiful, immediately recognizable as Burke‘s, and it pays subtle homage to his and the band’s Cascadian home region with the shapes of the tall evergreens in the foreground, speaking all the more to the beauty of the Pacific Northwest and the classic soul fused into the record itself.
Duel, Fears of the Dead
Cover by Pol Abran Cantador. Artist website.
How could one not look at the cover of Duel‘s debut album, Fears of the Dead (review here), and not immediately think of the Misfits? And yet, Barcelona-based Pol Abran Cantador, operating under the banner of Branca Studio, brings a freshness to the striking, landmark skull design. The face is off-center, the eyes looking outward. While there’s little doubt as to the visual reference being made, it’s just that — a reference, not an emulation. Treading that balance would be admirable enough for inclusion here, but impact of the piece becomes greater with the distressed look and the deep blood red surrounding, giving dimension as a backdrop, reinforcing the perspective of the figure, and providing Duel with a horror-cinema vibe that begs the question of just what those eyes are staring at.
Brutus, Wandering Blind
Cover by Maarten Donders. Artist website.
Sometimes something just stays with you. On the surface, Dutch artist Maarten Donders brings forward a pretty simple idea for Norwegian boogie rockers Brutus‘ third album, Wandering Blind (review here). Images from ’60s-style psychedelic pulp horror come to mind — the bat, the spiderwebs, the blank stare on the face, the flowing hair through the open mouth of the skull, the monster eyeballs, the purposefully hand-drawn logo — but at the same time, the execution of these things is so intricate. Look at the bags under those eyes, the black holes where the teeth of that skull should be, the weird bubbles by the eyeballs, and the comic-style lettering of the album title itself, which switches back and forth between capitalized and lowercase letters. Look at the shadowed impression of a vinyl record that encircles the design but lets the chin of the skull and the band’s logo protrude. It’s so immediate but so deceptive, hiding its devils in its details.
Seedy Jeezus with Isaiah Mitchell, Tranquonauts
Cover by Mr. Frumpy. Artist website.
While it’s true that for this collaboration between Earthless guitarist Isaiah Mitchell and Melbourne heavy psych rockers Seedy Jeezus, the front cover only tells half the story of the full Tranquonauts (review here) gatefold, even 50 percent is enough to justify inclusion here. Put together by Mr. Frumpy Frumpedia, aka Seedy Jeezus guitarist Lex Waterreus, it was one of several artworks this year to feature smaller figures against a grand backdrop — Geezer‘s self-titled and Sunnata‘s Zorya, featured below, come to mind immediately, as well as the last Fu Manchu — but it was the openness of the space itself that Waterreus captured, both on the ground and in the sky, and the atmosphere that brought to the instrumental, jammed-put proceedings on the LP’s two sides, that made it work so well. The humanoid figures — maybe the total four-piece of the lineup? — are so utterly overwhelmed by their surroundings, and yet they seem more than ready to make their journey through them, finding life along what seems to be a barren path.
Greenleaf, Rise Above the Meadow
Cover by Sebastian Jerke. Artist website.
Sebastian Jerke has kind of become Napalm Records‘ go-to artist over the last couple years, as his past and upcoming work for the likes of My Sleeping Karma, monkey3, Ahab, The Answer and others can attest, but the strangeness of the natural world, the three-dimensional protrusion of the trees, the layered depths, and the commanding presence of the bear, owl, snake and winged insects standing above it all made his work for Greenleaf‘s Rise Above the Meadow (review here) my favorite album cover of the year. It’s very much in his painterly, somewhat classical style, but the way the light seems to come from the band’s logo and behind the planet, the use of shadow and shading on the trees, and the monstrously blank eyes of the bear and owl give it a depth and narrative that remains nothing short of breathtaking. Clearly a labor of love.
Beastwars, The Death of all Things
Cover by Nick Keller. Artist website.
My only question was whether it was the cover for The Death of all Things (review here) I’d include or Keller‘s piece that was used for Child‘s new album, Blueside (review here), but with the context of this very likely being the final offering from New Zealand sludgecrushers Beastwars, the answer was plain. Either way, Keller‘s sense of scale and scope remains immense and he continues to bring a feel of the epic to his work here as he did to his two prior covers for Beastwars, on 2013’s Blood Becomes Fire (review here) and the band’s 2011 self-titled debut (review here), resulting in a more than suitable pairing of visual representation and impact of sound. Rarely does one find an artist and a band so much on the same page.
Goatess, II: Purgatory Under New Management
Cover by Göran Nilsson. Artist website.
Charm goes a long way in my book, always, and Göran Nilsson‘s cover for the second outing by Swedish doomers Goatess, II: Purgatory Under New Management (review here), has it in bulk supply. The underlying mischief of depicting the four-piece as medieval-esque saints painted on wood like something out of the Middle Ages — their faces grim with a seriousness of purpose not at all letting on to the tongue-in-cheek nature of the record’s title — with halos behind their heads and scripture in tow, well, it’s got a humor that most doom wouldn’t dare go near for fear of losing the edge of its miseries. For Goatess, however, it works perfectly in conveying an essential piece of where the band is coming from, in that their output in the first place seems to be as much about getting together and celebrating the act of writing songs as a unit as it is worshiping the traditions of the style.
Droids Attack, Sci-Fi or Die
Cover by Eli Quinn. Artist website.
While a jpeg of the cover alone doesn’t quite do justice to the full presentation of Eli Quinn‘s artwork for Droids Attacks‘ Sci-Fi or Die (review here), which went so far as to print the title of the record in gold ink on the CD case, feature even more detailed work inside and even go so far as to create an entirely separate artwork scheme for a bonus track hidden on a mini-CD under the back tray under the disc for the album (detailed here), I still find the image of the launching South American-style pyramid as a full diamond taking off — especially with the lights beaming out the bottom — among the most striking of 2016. Reminiscent of Arik Roper‘s detailed style, Quinn‘s cover added depth and purpose to the band’s never-tighter songcraft while also speaking to the love of science-fiction storytelling that drove them to use the title in the first place. Hard not to win with ancient aliens.
Cover by Jeffrey Smith. Artist website.
Derived it would seem at least in part from a piece called “Erosion of Self,” or at very least of a kin to it, like a lot of Smith‘s work, his art for Zorya (review here) by Polish heavy rockers Sunnata treats light with a religious reverence. Like a Kubrick shot, the sun is dead-center of the painting itself, framed and encircled by gaseous-looking clouds, and as the dawn seems to break over this landscape (or is it sunset?), it becomes difficult to tell where the robed monks end and the rocky protrusions begin. Our eyes are drawn immediately toward the light, and it’s the light that ultimately defines the story here, the way the beams of light shoot outward and turn the desert floor white so that it almost reminds of a body of water as much as a place where nothing seems to grow. Stark but consuming.
High Fighter, Scars and Crosses
Cover by Dominic Sohor. Artist website.
This one was so dark, so malevolent, with such a violent bend in its prominent central figure, that it seemed to encapsulate the underlying threat that always seemed to loom over High Fighter‘s Svart Records debut album, Scars and Crosses (review here). Because the faceless blue skin and hanging, stringy hair are so reminiscent of Japanese horror films, and because the heart in the right hand stands out so much in its silvery tone and because the pattern on the dress/cowl is so intricate, you almost don’t notice at first that it’s blood shooting out of that figure’s left wrist filled with upside-down and rightside-up crosses or that it seems to be veins in the top left corner acting as puppet strings, propping up the entire play. But it definitely is, and that only furthers the horrific, nightmarish imagery surrounding, where even the shaded background seems to want to lure you in with no hope of escape.
Bridesmaid, International House of Mancakes
Cover by W. Ralph Walters. Artist website.
Come on. So you mean to tell me you went ahead an reinvented KISS‘ cover for Destroyer with Ohio heavy rockers Bridesmaid dressed as the Village People? Be still my beating heart. The art for International House of Mancakes (review here) offers subversive humor without judgment, winking at the homoeroticism that has always been and likely will always be a part of rock and roll, and ultimately mocks the ridiculousness of the denial of that same homoeroticism. From the hands raised in triumph on either side (an element pulled right from the original KISS cover) to the stacks of pancakes the instrumental outfit is standing on, it functioned as artwork to say so much about the band and was perhaps all the more effective in conveying its message and their message since there were no lyrics to pull in other directions. It’s all right there in your face; bright and brilliant.
Because I can’t seem to get out of one of these lists without a series of honorable mentions, I’ll say too that 2016 offerings from Borracho, SubRosa, Inter Arma, Mars Red Sky, Vokonis, Elephant Tree, EYE, Slomatics, Gozu and Black Moon Circle managed to strike on one level or another.
Thanks for reading. Like I said at the outset, this is barely a fraction of the amazing art that came down the line this year. If you’ve got something to add, please hit up the comments.