I like to believe that every death metal fan has seen a Dan Seagrave cover at one time or another. The man has painted the covers of some of the most influential death metal albums out there – we’re talking Morbid Angel, Suffocation, Entombed, Pestilence, Dismember, Gorguts and Carnage among others. Some of those covers have undeniably somewhat added to the spirit of death metal mythology.
Seagrave is a self-taught Brit, initially inspired by the rural and urban surroundings of his native Ravenshead (near Nottingham). That the young artist’s paintings would fit the imagery of death metal music makes sense when considering how his early influences included John Martin, a Romantic painter keen on apocalyptic and chthonic scenery, and M. C. Escher, a graphic artist interested in labyrinthine visual paradoxes. Top it off with some Vincent van Gogh, Leonardo da Vinci and early sci-fi films, like Alien, and the road to metal doesn’t seem entirely unlikely. Seagrave is nevertheless (and hardly surprising) more into architecture than other visual arts:
I like to see the layers of history in buildings, things like old signs or hand painted fading billboards – that kind of thing, and a little bit of seedy urban decay.
The typical Seagrave painting these days often seems to delve in a sea of thorns or a mess of jagged bark that’s come alive in some decrepit, chaotic universe. Some of his works are, by contrast, highly symmetrical pieces (think The Ultimate Incantation or Like an Ever-flowing Stream). In all his works, however, there’s a penetrating attention to detail. You can spend an awful lot of time discovering all the elements of the cover of, say, Effigy of the Forgotten.
Seagrave’s early paintings used gouache paint, which, while rather dull, is more tolerant of the meticulous. Whereas these early works are reminiscent of morbid still lifes, his more recent paintings – mostly painted with acrylics – experiment more with gnarly shapes, twisted movements and vertiginous perspectives.
Seagrave painted a lot of cover art from 1988 to 1994, more or less until the advent of computer graphics (and the death of a lot of underground metal). He prefers to work instinctively and hardly uses any reference material. He is, as he expresses it, “trying to convey”. Seagrave’s legacy should indeed remind us that real paintings pertain more to the authenticity of metal culture than any Photoshop production:
I did around 40 covers, computer graphics were cheaper alternatives, but I think paintings are far more interesting to look at. And people realize that computer art is as different to painting as photography, it’s simply another medium which is why things are beginning to level off again.
Tags: album covers, dan seagrave
5 thoughts on “Album covers: Dan Seagrave”
Unfortunately, the quality of his work took a nosedive when he changed to his new style that he began with Morbid Angel’s Gateways to Annihilation, his only good work in this style. It’s real hard to tell the difference between a 2000s Dismember album, Suffocation’s Souls to Deny, or Decrepit Birth. I wonder if he’s using Photoshop nowadays? Fun fact: compare the artwork to Like an Ever Flowing Stream to Benediction’s Transcend the Rubicon. They are part of a series of his paintings that take place in the same setting.
I think I agree. There’s less spirit and more decoration and pointless effects in later Seagrave. His personal Temple series which he boasts of is downright awful art.
A lesser known one:
Sweet Leaf by Cadaver:
His early paintings are the visualized essense of death metal. Something akin to the fiberous structure of muscle-layers when viewed without flesh or the ever-changing patterns of a melting snowflake. Such a creative and imaginative mind one must have to conjure such visions.
My alltime favourite cover he has done would have to be Gorguts – Erosion of Sanity, it matches the music perfectly.
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