A Gift to Artwork, taken from the Caligula’s Horse song “A Gift to Afterthought”, breaks down and analyses your favourite album artwork. The first time an album’s name appears, it will link to a large and (where possible) high-resolution image of the cover so that you can take a closer…
A Gift to Artwork, taken from the Caligula’s Horse song “A Gift to Afterthought”, breaks down and analyzes your favourite album artwork. The first time an album’s name appears, it will link to a large and (where possible) high-resolution image of the cover so that you can take a closer…
A Gift to Artwork, taken from the Caligula’s Horse song “A Gift to Afterthought”, breaks down and analyses your favourite album artwork. The first time an album’s name appears, it will link to a large and (where possible) high-resolution image of the cover so that you can take a closer…
A Gift to Artwork, taken from the Caligula’s Horse song “A Gift to Afterthought”, breaks down and analyses your favourite album artwork. The first time an album’s name appears, it will link to a large and (where possible) high-resolution image of the cover so that you can take a closer…
A Gift to Artwork, whose name is taken from the Caligula’s Horse song “A Gift to Afterthought”, breaks down and analyses your favourite album artwork. Read other entries in this series here. It’s hard to believe it has been over two years since we last published an article in this…
A Gift to Artwork breaks down and analyses your favourite album artwork to see what it communicates to the listener and how it interacts with the music and lyrics. Read other entries in this series here. Welcome to November’s edition of A Gift to Artwork, and today we’re going to…
After a month off whilst I traveled the world, we’re back with October’s edition of A Gift to Artwork, and we’re looking at In Flames. The Gothenburg Trio alum took the world by storm when they emerged at the forefront of the melodic death metal movement in the mid-to-late ’90s; however, their change in sound and direction at the turn of the century – and again post-2010 – have polarised fans the world over. Though their modern relevance continues to erode, the artistic legacy they’ve left behind still stands the test of time. Part of this legacy rests within their cover artwork as well as their music, and so today we’re going to be looking at three album covers, one from each of the three main eras of the band’s history.
A Gift to Artwork breaks down and analyses your favourite album artwork to see what it communicates to the listener and how it interacts with the music and lyrics. Read other entries in this series here. A couple of months ago we did a lengthy *prognotes series on Mastodon’s Crack…
We’re sorry, we know we’ve been a little slack with getting these posts out to you and we’ll look to publish them at least once a month in future. Also, moving forward the first time an album is mentioned we’re going to link it with a large, high-res image of the covers we’re discussing so that you can see what we’re on about more clearly. Today we’re going to be analysing the album covers of Fallujah’s first two full-length records, and how they relate not only to those albums, but to the evolution of the band over time. First up we have 2011’s The Harvest Wombs.
It’s been a long time coming, but we’re finally back with another edition of A Gift to Artwork, and today we’re looking at three records from none other than Fleshgod Apocalypse. We’ll be moving through chronologically, beginning with their sophomore effort Agony from 2011. The record is a concept album dealing with the evil inherent within mankind, and how the behaviours which stem from this can keep mankind within a perpetual state of agony. For an example at what kind of evils they’re discussing on the album, one need not look any further than the track listing to get a taste for it.
