Anytime I get to post up some art from L.A.-based artist and all-around good guy Sean “Skillit” McEleny, I consider it a good day. The designer of artworks for Fatso Jetson, Dali’s Llama, this very website (note the header) and so many others continues his association with Wisconsin’s Days of the Doomed fest, following up on artwork contributed last year with a badass horizontal design — such is the way of things; an interesting byproduct of what shows up best on Thee Facebooks feeds and profile pictures — for Days of the Doomed IV, which rolls out starting on June 20 with Trouble, Egypt, The Mighty Nimbus and an impressive cast of others.
The poster itself calls to mind Madballs (dating myself) and any number of video game monsters, but notice the mountain druids in the background and things get even weirder and more complex. If you don’t at first see it, look on the bottom right side for where it’s noted that Days of the Doomed IV is honoring the late Jason McCash, who headlined the fest last year with The Gates of Slumber.
Click the image to enlarge for a better look:
Days of the Doomed IV is set for June 20 and 21 at The Metal Grill (formerly The Blue Pig) on Packard Ave. in Cudahy, Wisconsin, and is dedicated this year to the memory of The Gates of Slumber‘s Jason McCash. The lineup and runtimes are as follows:
Friday, June 20th, 2014 – Doors Open At 3:00 PM 3:00 – 4:00 Metal DJ 4:00 – 4:40 Ancient Dreams 5:00 – 5:40 Stasis 6:00 – 6:45 Wasted Theory 7:05 – 7:50 Witchden 8:10 – 9:00 The Mighty Nimbus 9:20 – 10:20 Orodruin 10:40 – 11:40 Blackfinger (featuring former Trouble vocalist Eric Wagner) 12:00 – 1:00 Las Cruces
Saturday, June 21st, 2014 – Doors Open At 11:30 AM 12:00 – 12:40 Flying Medusa 1:00 – 1:40 Moon Curse 2:00 – 2:45 Sanctus Bellum 3:05 – 3:50 Brimstone Coven 4:10 – 4:55 Spillage (featuring Earthen Grave guitarist Tony Spillman) 5:15 – 6:00 Stone Magnum 6:20 – 7:05 Egypt 7:25 – 8:10 Devil To Pay 8:30 – 9:15 Beelzefuzz 9:35 – 10:35 Jex Thoth 10:55 – 11:55 Age Of Taurus 12:15 – 1:30 Trouble
God. Damn. Quite a lineup, quite a poster. I’ll give credit to Hollow Leg‘s Brent Lynch who first brought my attention to the poster for his band’s March 26 gig at St. Vitus Bar in Brooklyn. The evening, on which Kings Destroy (fresh off their West Coast tour) headlines with Hollow Leg, Holly Hunt, Clamfight and The Scimitar supporting, is a benefit for Aaron Edge, the Seattle-based graphic designer and former Roareth (etc.) guitarist, whose struggle with multiple sclerosis led to the creation last year of Lumbar‘s The First and Last Days of Unwelcome(review here) and whose medical bills continue to accumulate.
True to oblivious form, I actually wasn’t aware The Obelisk was sponsoring the show or I’d have been plugging it much sooner. There were some discussions earlier on and I had thought it just kind of petered out as these things sometimes do, but I’m honored to have the name of this site associated with such a lineup, with War Crime Recordings who released Kings Destroy‘s A Time of Hunting last year, and of course with St. Vitus Bar, whose reputation at this point spreads well beyond the bounds of Brooklyn. I won’t be sorry to catch Hollow Leg and Holly Hunt when they come through Boston with Ichabod and Balam, but no doubt this is something special, and the poster, by Searing Limb‘s Connor Anderson, certainly lives up to the occasion.
Click the image to enlarge for a more detailed look (click it again to remove). For more on the Anderson‘s work, this show, the Holly Hunt/Hollow Leg tour dates and how you can contribute to Edge‘s continuing fight, check the links below.
Reunited New York doomers Blood Farmers are taking orders now for their sophomore album, Headless Eyes. A self-release, Headless Eyes is the first Blood Farmers long-player to surface in the 19 years since their self-titled debut came out on Hellhound, and it has been awaited since the band first started doing shows again a few years back. Their fetish for all things horror comes through both in the title of the album and its graphic design, handled by drummer Tad Leger, who’s given a sampling of the art for anyone who’s yet to pick up a copy of the CD. He’s joined in the band by vocalist Eli Brown and guitarist/bassist Dave Szulkin.
Blood Farmers‘ debut was reissued on Japan’s Leaf Hound Records in 2008 with a bonus track — their 1991 demo, Permanent Brain Damage, had been put out by the same label in 2004 — and the band has toured and made fest appearances leading up to the Headless Eyesrelease, hitting Europe in 2011 alongside Black Pyramid and also playing Days of the Doomed in Wisconsin.
Click the image below to get a feel for the art — front and back cover, plus liner, etc. — for Headless Eyes, which comes with an update from Leger and the tracklisting. I’ve also included a clip of the title-track so you can have a taste of Blood Farmers‘ grainy, VHS-style doom. Enjoy:
Here’s a peek at some of the sickening art that houses each copy of the new Blood Farmers album, Headless Eyes. It’s not pretty but that was our goal when creating it really. Thanks to all the kind folks who have supported this release. All sales go straight to the band. NO labels, distributors or anyone involved in this. So please help us spread the word. Our sincere thanks to the TRUE Doom culture!
Tracks are: 1.Gut Shot (6:17) 2.Headless Eyes (10:49) 3.The Creeper (4:51) 4.Thousand-Yard Stare (6:34) 5.Night Of The Sorcerers (10:15) 6.The Road Leads To Nowhere (5:59)
Today I have the extreme pleasure of premiering the artwork for Wo Fat‘s forthcoming fifth album, The Conjuring. Set for release on June 17 through Small Stone — though from what I hear it’ll be available at the merch table on the Dallas trio’s upcoming European tour — the cover art to The Conjuring arrives courtesy of none other than Alexander von Wieding, who has outdone himself in capturing the album’s brooding and dark psychedelia. Von Wieding did the cover as well for 2012’s The Black Code(review here), and of course counts Karma to Burn, his own Larman Clamor, Black Thai, Manilla Road and many others among his clientele. Samples of his work are available at his website.
Click the image below for a more detailed look, and just for kicks, I’ve also included the Wo Fat bio for The Conjuring, which I wrote:
Wo Fat – The Conjuring Bio
You can wade through as many press quotes about “Texas-sized” as you want or see how many top-whatever lists Wo Fat have made since the Dallas trio got started in 2003, but none of that is going to be the same as staring down their swampadelic fuzz groove for yourself. If you want to know the monster, shake its hand.
In 2014, Wo Fat will release The Conjuring, their fifth full-length and second through Small Stone. Like their last two, 2012’s The Black Code and 2011’s Noche del Chupacabra, it’s a heavy-riff/heavy-jam blast of a time – the kind of record that turns the vaguely interested into converts and that makes the corners on squares look even sharper. Guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer/backing vocalist Michael Walter are jazz-combo tight and their roll is easy and natural, like you remember Fu Manchu being, but bigger-sounding and in the case of The Conjuring, darker as well.
There’s been a creature lurking in the woods since Wo Fat’s 2006 debut, The Gathering Dark – their second album, 2009’s Psychedelonaut, pulled back on the threat some to lighten the mood – but whether it’s the motor-driven rush of “Read the Omens” or the you’re-already-lost-in-it riff-exploration of 17-minute closer “Dreamwalker,” The Conjuring is indeed a backwoods ritual. Bluesmen have sold their souls for less.
Veterans of Roadburn, slated for Freak Valley 2014 and self-sufficient with Stump handling the recording at the band’s own Crystal Clear Sound in Dallas, Wo Fat push their jams farther than they’ve ever gone before on these five tracks. Topped off with a mastering job from Nolan Brett at their studio and an otherworldly cover courtesy of Alexander Von Wieding, the beast that Wo Fat’s tectonic riffage calls to earth has never seemed more real or more alive than it does on The Conjuring.
The Conjuring tracklisting: 1. The Conjuring 2. Read the Omens 3. Pale Rider from the Ice 4. Beggar’s Bargain 5. Dreamwalker
Wo Fat: Kent Stump: Guitar/vocals Tim Wilson: Bass Michael Walter: Drums/backing vocals
They’ve been out for a minute at this point, but I had to get these up. Small Stone Records will host showcases in Boston and Brooklyn March 28 and 29, respectively. Roadsaw, Lo-Pan, Gozu, and Neon Warship will play both in Boston at the Middle East and in Brooklyn at the St. Vitus bar, and both shows also mark the Northern debut of Texas fuzz-giants Wo Fat! The Dallas trio will be touring to herald the coming of their fifth album, due in June. If you couldn’t tell by the exclamation point, I’m excited to be seeing them again.
Mellow Bravo (whose lead guitarist, Jeff Fultz, will now be pulling double duty as a member of Gozu) also feature in Boston, while Geezer will add some New York heavy blues to the Brooklyn lineup. Both posters come courtesy of Chris Smith, whose DeviantArt page is here. As you can see below, the two posters are set up to complement each other, and the Boston one is angrier. That more or less sums up the relationship between Boston and NYC as I currently understand it. Extra kudos to Smith for the subtle social commentary.
Click either poster to enlarge, and check out the lineups and other sundry information about both shows below, along with the Bandcamp stream of Wo Fat‘s The Black Code (review here), just for the hell of it:
Small Stone Showcase Boston- March 28th
THE MIDDLE EAST RESTAURANT & NIGHTCLUB www.mideastclub.com/ 472-480 Massachusetts Ave, Cambridge, MA 02139
Mellow Bravo Wo Fat Lo-Pan GOZU Roadsaw Neon Warship
This whole thing came about because I mentioned a few months back that it was a personal dream of mine to have Belgian-born “lord of the logos” Christophe Szpajdel do a logo for this site. I’ve dug Szpajdel‘s work since I first saw it editing a feature about him in Metal Maniacs, in what I like to think of now as “the before time.” Well, Kiffin Rogers of Napalm Christ/Rwake was kind enough to put me in touch and Szpajdel, instead of pointing to the nearest cliff and asking me in so many words to leap from it, was on board with designing a logo for The Obelisk. This was most certainly exciting news.
Now, I like the Skillit header currently on this site. Fucking love it, in fact, and I plan on keeping it in use along with the new design. In its every detail, it excellently encapsulates a lot of the vibe that I enjoy most about this site. However, to ask Skillit‘s work to mesh with Szpajdel — who’s more known for his associations on the extreme end of black and death metal than anything resembling desert rock — would be unfair to both artists. Adam Burke (interview here), however, seemed like a perfect fit, with his watercolor style, deep tones and fantasy influence.
A phrase I actually used in my email to Burke talking about what I had in mind for the header piece: “A land-octopus off to one side or the other’s always welcome by me.” Rules to live by, people.
Obviously, when the finished product came in, I was flabbergasted. Here’s a look at the details of both the header art and the logo. Click any to enlarge.
Header Art by Adam Burke
You ever have a picture in your mind of what you want and then what you wind up with not only is that thing, but is that thing better? Yeah, that’s kind of how it went with this one. The land-octopus, the sunscape, the crags on the left side, Burke absolutely nailed it. I damn near wept when I opened the file.
Logo by Christophe Szpajdel
This is the original hand-drawn version of the logo. You can see the marker marks and the lighter spaces where his stroke lifted. So fucking cool. If you do or don’t know Szpajdel‘s work, he’s an absolute master. It was an honor to email with him, let alone actually have him send this as an attachment.
I, on the other hand, am not at all a master when it comes to graphic design, and though I tried for an embarrassingly long time, I couldn’t get the logo either completely black or onto a transparent background. Outside help was enlisted, and this emerged as the finished version (turned white for posting here — also maybe for t-shirts):
When I put them together — that I could do — this is how it wound up:
The Finished Product
I don’t think I could be any happier with how it all came out in the end of I tried. Huge thanks to Christophe Szpajdel and Adam Burke for their attention and hard work. Please check out their sites/portfolios and support underground art by giving them money and telling other people how much ass they kick.
First thing, let me give the immediate and familiar disclaimer: This isn’t everything. If I wanted to call this list “The ONLY 10 Album Covers that Kicked Ass in 2013,” I would. I didn’t do that, because there were way more than 10 covers that resonated when I saw them this year. The idea here is just to check out a few artists’ work that really stuck out as memorable throughout the year and really fit with the music it was complementing and representing.
As always, you can click the images below to enlarge them for a more detailed look.
The list runs alphabetically by band. Thanks in advance for reading:
Like Nick Keller‘s cover for New Zealand heavy plunderers Beastwars‘ 2011 self-titled debut (review here), the darker, moodier oil and canvas piece that became the front of Blood Becomes Fire(review here) created a sense of something truly massive and otherworldly. A huge skull with sci-fi themes and barren landscape brought to it foreboding memento mori that seemed to suggest even land can die. It was an excellent match for the brooding tension in the album itself.
The level of detail in Arrache-toi un oeil‘s cover for Blaak Heat Shujaa‘s full-length Tee Pee Records debut, The Edge of an Era(review here), would probably be enough for it to make this list anyway, but the Belgium-based art duo seemed thematically to bring out the swirl, chaos and underlying order within the Los Angeles trio’s desert psychedelia. Blue was for the vinyl edition, brown for the CD digipak (both were revealed here), but in either format it was a reminder of how much visual art can add to a musical medium.
Black Pyramid, Adversarial
Cover by Eli Wood.
I look at the Eli Wood cover for Black Pyramid‘s Adversarial(review here) as representing the task before the band in putting out their third LP. Released by Hydro-Phonic, the album found Black Pyramid coming head to head with both their audience’s expectations of what they were in their original lineup and their own will to move past that and become something else. If there was a second panel to the cover, it would show the arrow-shot warrior standing next to the severed head of the demon he slayed. Easily one of my favorite covers of the year. The scale of it begged for a larger format even than vinyl could provide.
It was such a weird record, with the interludes and the bizarre twists, that Samantha Allen‘s cover piece for Ice Dragon‘s Born a Heavy Morning (review here) almost couldn’t help but encompass it. The direct, but slightly off-center stare of the owl immediately catches the eye, but we see the titular morning sunshine as well, the human hand with distinct palm lines, illuminati eye and other symbols — are the planets? Bubbles? I don’t know, but since Born a Heavy Morningwas such an engrossing listening experience, to have the visual side follow suit made it all the richer.
Kings Destroy, A Time of Hunting
Cover by Aidrian O’Connor.
In Magyar mythology, the bird-god Turul is perched atop the tree of life and is a symbol of power. With its theme in geometry, Aidrian O’Connor‘s cover piece for Kings Destroy‘s ATime of Hunting — which was originally titled Turul— gave a glimpse at some of that strength, positioning the viewer as prey below a creature and sky that seem almost impossible to parse. I felt the same way the first time I put on the finished version of the Brooklyn outfit’s second offering, unspeakably complex and brazenly genre-defiant as it was.
Alexander von Wieding deserves multiple mentions for his 2013 covers for Black Thai and Small Stone labelmates Supermachine, but he always seems to save the best for his own project, Larman Clamor. The one-man-band’s third LP, Alligator Heart(review here), was a stomper for sure, but in his visual art for it, von Wieding brilliantly encapsulated the terrestrial elements (the human and reptile) as well as the unknowable spheres (rippling water, sun-baked sky) that the songs portrayed in their swampadelic blues fashion. It was one to stare at.
Similar I guess to the Beastwars cover in its looming feel and to the Black Pyramid for its scale, John Sumrow‘s art for Monster Magnet‘s Last Patrol(review here) mirrored the space-rocking stylistic turn the legendary New Jersey band made in their sound, taking their iconic Bullgod mascot and giving it a cosmic presence, put to scale with the rocketship on the right side. It stares out mean from the swirl and regards the ship with no less a watchful eye than Dave Wyndorf‘s lyrics seem to have on society as a whole.
There’s a mania to Orion Landau’s cover for Red Fang‘s third album, Whales and Leeches, and while the songs that comprise the record are more clearly structured, the collage itself, the face it makes when viewed from a distance, and the (from what I’m told is brilliant) cut-out work in the physical pressing of the album, all conspired to make one of 2013’s most striking visuals. As the in-house artist for Relapse, Landau is no stranger to landmark pieces, but this was a different level of accomplishment entirely.
Fuck. Look at this fucking thing! Galaxy spiral, vagina-dentata, creepy multi-pupil eyes and a background that seems to push the eye to the middle with no hope of escape even as blues and oranges collide. Wow. Sandrider bassist JesseRoberts‘(see also The Ruby Doe) artwork for Godhead (review here) is the only cover on this list done by a member of the band in question, and though I’m sure there are many awesome examples out there, I don’t know if any can top this kind of nightmarishness. Unreal. The sheer imagination of it.
When I put together a similar list last year, it had Summoner‘s first album under the moniker, Phoenix, on it, and with their second, they went more melodic, more progressive, and showed that heaviness was about atmosphere as much as tone, and that it was a thing to be moved around rather than leaned on. The Alyssa Maucere art, dark but deceptively colorful, rested comfortably alongside the songs, with a deeply personal feel and unflinchingly forward gaze, somewhat understated on the black background, but justifying the portrayal of depth.
As I said above, there’s a lot of stuff I could’ve easily included on this list, from The Flying Eyes to Sasquatch to Black Thai to Lumbar, Samsara Blues Experiment, Goatess, At Devil Dirt and others. Hopefully though, this gives a sampling of some people who are doing cool work in an under-represented aspect of underground creativity.
If I left anything out or there was a cover that really stuck with you that I didn’t mention, I’d love to hear about it in the comments.
Both of these are pretty badass and I didn’t figure anyone would complain, so I thought I’d put up the posters for Desertfest next year. Both London and Berlin have come out in the last couple days — you’d almost think it wasn’t a coincidence! — and though each has its own personality like the fests themselves, I think looking at either you know you’re getting a heavy show. Maybe I’m biased.
Malleus handled the London poster, and Ammo, from Belgium, the Berlin one. For Malleus, these are pretty regular themes — their affection for redheads goes way back and here brings to mind some of the exploits of Fanny Jo Stingray, may she rest in piece — and with Ammo’s the pencil grays and insane level of detail bring to mind a black and white take on Earth‘s The Bees Made Honey in the Lion’s Skull, though obviously the color/lack thereof makes a huge difference.
Check them out and see what you think:
Desertfest London 2014 Poster by Malleus
We are pleased to be able to unveil Desertfest 2014’s awesome limited addition screen print poster, created by the equally awesome Malleus. Malleus is a poster art trio featuring Poia and Urlo of UFOMAMMUT and we just couldn’t help get them involved again. The prints will be available next week to pre order at £20 and of course will be available at the festival.
We are also excited to be announcing the Human Disease/When When Planets Collide stage on Thursday. Expect a heavy underworld line up…