Interview – Alcides Burn (Burn Artworks)

Let us all burn together with the talented Brazilian artist Alcides Burn, from Burn Artworks, in this exclusive interview where he talks about his work, his passion for drawing and heavy music, and more.

Alcides Burn (Burn Artworks)

The Headbanging Moose: Could you please start by telling our readers who Alcides Burn is? When and why did you decide to become a graphic designer, and when exactly did your passion for heavy music start impacting your work as a designer?

Alcides Burn (Burn Artworks): Hi, at first I would like to thank The Headbanging Moose for the opportunity to present my work.

Well, I’m Brazilian, from Belém-PA, but I’ve lived in Recife for many years, I always liked to draw and I’ve always been a fan of horror movies, giant monsters, and stuff like that. In the 1990s it was when I started listening to metal, I remember the first time I saw an Iron Maiden album cover, I was impressed with it and from that time on I decided to create arts.

I started drawing art for bands of friends until I’ve got a computer from an uncle and went digital.

THM:  Did you have any idea of what you were doing in your early days as a graphic designer for metal bands? How did things work in the beginning for you? What were your biggest challenges as a rookie in such competitive market?

AB: In the beginning there weren’t as many artists as nowadays, and I really wouldn’t have imagined that I’d become a well known artist as now. As I said, I was lucky to have a very good computer at a time that it was very expensive and difficult to get one, and I always studied a lot, I used to burn the midnight oil learning and studying hard, then I made an album cover for Queiron, a band from São Paulo. That opened doors, that was when I actually started this work, after that other bands came up.

THM: You were also (and still are) a vocalist for a few Brazilian Death Metal bands like Inner Demons Rise, Next Pain and Subinfected. How did you manage your duties as a musician and a designer at the same time with your previous bands, and what lessons did you learn that you can apply to your active band Inner Demons Rise nowadays?

QUEIRON (Brazil) CD Cover

AB: The bands were not my top priority, I’m also an advertising professional and a concert producer, so these projects came up during my spare time and they were getting harder to manage in my busy schedule. Due to that reason I’m not in a band anymore. I’ve spent 10 years in the band Inner Demons Rise, I had a lot of fun, I learned a lot, a lot of the production experience I’ve learned I used to apply to the band, but unfortunately my work as a designer started to grow and I had to leave the band, but I still talk every day to my bandmates that are also my personal friends.

THM: While checking some works you’ve done for several bands from different parts of the world, I noticed most of the time there’s a lot of chaos, fire, death, demons, darkness and other obscure or evil elements in your art. What attracts you in those elements, and do you think that can limit your reach, I mean, what if a Symphonic Metal band or a Hard Rock band approach you to hire your services?

AB: Well, my mind has always been a little devilish (LOL), I’m a Death Metal fan, mainly from the 1990s, and album covers like Monstrosity (Imperial Doom) and Dismember (Like an Ever Flowing Stream) have always impressed me, creatures, the scenarios, and like I said, horror movies, monsters, I think I couldn’t follow a different path. However I’ve already designed for Melodic Heavy Metal bands, like “The Black Knight” from the band Wizards here from Brazil among other artists, sometimes I feel even lacking in creating such works.

THM: What are your favorite bands, as well as favorite artists and designers? How much have they influenced your work since the beginning? And can you list your favorite album artworks of all time, telling why you like them so much?

AB: That’s a trick question, but let’s go:

Some of my favorite bands are: Paradise Lost, Moonspell, Monstrosity, Deicide, Gorefest, A-HA, Dream Theater, Angra, I think these are the ones I listen to most.

Favorite artists: Seth Siro Anton, Wes Benscoter, Dave Mckean, Travis Smith and Braisl I enjoy many works by several artists, Marcelo Vasco, Gustavo Sazes, Rafael Tavares, Carlos Fides among others.

About favorite albums: Paradise Lost – Gothic, Moonspell – Wolfheart, Deicide – Legion, Gorefest – False, Monstrosity – Imperial Doom, Dream Theater – Image and Words, Angra – Fireworks. There are many (LOL)

THM:  Apart from heavy music, what else serves as an inspiration for you? Any movies, books or other things that are worth mentioning that had a significant impact in the way you draw or paint?

AB: Movies, lots of movies, I’m a movie buff, I watch at least 2 or 3 movies a week and everything around me, if I step on the street and see something that I know can turn some art, I quickly snap a picture.

THM: If I have a band and I’m searching for an artist to design the cover art for my new album, what should I do to contact you? And how does the entire process work, from the very first contact until the final version of the artwork is ready?

AB: Well, you can contact me through my email: alcidesburn@gmail.com or by my Facebook and Instagram: @alcidesburn.

The process is very simple, I usually create the art based on the album title or from a song lyric or an idea that the band has in mind. I have a conversation with the band to understand the idea and then just go for it, I present a draft of the idea to the band and as soon as they approve I finish the artwork.

THM: Your list of clients is quite extensive, including underground bands from distinct parts of the world such as Neuroticos (Japan), Zerozonic (Norway) and Iconoclasm (Belgium), renowned international acts like Keep of Kalessin (Norway), Obituary (USA) and Tim “Ripper” Owens (USA), countless underground Brazilian bands and even some big names in the Brazilian scene like Krisiun, Nervochaos and Torture Squad. From all those bands and artists, which ones do you think were able to extract the best of your art?

AB: I think the one that has had the most repercussions so far was the Keep of Kalessin, that one people still talk about, this art will be part of the second edition of the book Arte Arcana – Lucifero, where I will be among the great artists of the world.

The book can be purchased at this link: https://heavymusicartwork.com/arte-arcana-lucifero. There is an art that I made for Rebaelliun band shirt that I also like it a lot. I recently created another art for them and I liked the result. The ones I made for Krisiun, total respect to the band, I like it a lot and the guys are very good people and Nervochaos that despite being something simple it was a very cool experience.

I have a special affection for all of them, they are important bands that I like so much.

REBAELLIUN (Brazil) T-Shirt Design

THM: There was no social media and the access to the internet was extremely limited when you started around 20 years ago. What are the advantages and disadvantages for you of the advent and unstoppable growth of social media in recent years? How do you keep up to date with everything that’s going on, new techniques, new software or anything else that you can apply to your work?

AB: I usually say that the internet is a necessary evil, and you have to know how to use it in your favor, I try to use it to show my work to the world, I try to forget other subjects, I open my Facebook to advertise my arts and talk about movies.

Other than that the internet made it very easy for people who work with arts. Today you have a multitude of images, plugins, textures and software that helps a lot, but as I said: the real world is there, and if you have a good point of view you can bring a lot for your art.

THM: You were born in the city of Belém, in a region of Brazil not very famous for its metal music (in the state of Pará), and you currently reside in the Northeast of Brazil, where although there are several metal bands the scene remains completely underground. How does that impact your work? And what bands can you recommend form those regions, especially the ones you’ve already worked with?

AB: I left Belém at the age of 1 and I do not know the city until nowadays, but I hope to do it so soon.

The coolest thing is that I have several friends there, I’ve done arts for bands there like Disgrace and Terror, Anubis and Eternal Darkness, the latter two I’m creating for their new work at the moment.

The Northeast is strong, there are lots of bands that I have worked with and I like them a lot like Decomposed God, Pandemmy (both from Recife), Headhunter D.C., Malefactor (from Salvador), Sanctifier (from Natal), there are a lot of fucking good bands here.

I think it’s a little bit hard for me to live in Recife, an example if you live in São Paulo, you have a lot more contact with this world because it’s a metropolis, there are a lot more shows, more producers and more bands, you see. But I love the Northeast and Recife.

THM: What does the future hold for you as a graphic designer and also as a metal vocalist? Do you see yourself working with more and more international bands, or do you prefer becoming a reference in the Brazilian scene?

AB: As a vocalist I only intend to have some projects, I need them, but nothing too serious, just recording, maybe going on stage a few times nothing more than that, nothing that takes my time.

As for the graphic designer, absolutely. I want to show my work to the world, to have more international bands in my portfolio, that would be great!

THM: Thanks a lot for your time, Alcides. It’s an honor for us to interview a metal artist like you for the first time on our webzine. Feel free to send your final message to our readers, including the best ways for bands and musicians to contact you if they’re interested in having your art representing their music.

AB: I’d like to thank you so much for the opportunity to talk about my work. Spaces like these are of extreme importance for the Metal world. Every zine, blog, website is a source of information that never must die.

To contact me, in addition to the social networks I’ve mentioned, my site is: www.burnartworks.com. In it you’ll find my works. Thank you!

Links
Burn Artworks Official Website | Facebook | Instagram

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Album Review – Krisiun / Forged In Fury (2015)

These Brazilian veterans show us once again how good old school Death Metal sounds better when forged in sheer fury.

Rating5

Krisiun_Forged In FurySince the year of 1990, Brazil has become a synonym for fast, brutal and technical Death Metal due to the volcanic music engendered by Death Metal brothers Krisiun. And although there has been significant and obvious changes in their music from their 1995 debut album Black Force Domain to their brand new release entitled Forged In Fury, especially their move from that nonstop demonic carnage highly influenced by Black Metal from their early days to today’s melodic and metallic groove, they keep kicking ass and crushing our bones no matter what.

The professionalism and complexity of the artwork, designed by renowned American artist Joe Petagno, already gives the listener a good taste of what Forged In Fury is about: straightforward and deeply infuriated Death Metal. It might not be their best album to date (it doesn’t get close to that), with a couple of songs sounding like filler just to add extra time to the album, but it’s still a solid Krisiun release that will cause some serious damage to the spinal cord of fans of extreme music and admirers of the work of this talented Brazilian power trio.

Ready, set, go! Brothers Kolesne warm up the listener for a minute before the massacre starts in Scars of the Hatred, with drummer Max Kolesne being so precise and fast it’s hard to believe he’s only human. In addition, this song perfectly represents the evolution in their musicality, with the addition of lots of groove but always keeping their viciousness burning. And Max keeps sounding like a machine gun on drums in Ways of Barbarism, a brutish tune that makes it impossible not to slam into the pit. Their technique is impressive, with Alex Camargo and Moyses Kolesne giving a lesson in Death Metal with their powerful bass lines and guitar riffs and solos, respectively. Strident bass and riffs kick off the fuckin’ excellent Death Metal attack Dogma of Submission, where Alex sounds truly barbaric with his growls and Max continues his path of destruction with his unique fury and skills. If you love violence in music, this track is tailored for you.

KrisiunStrength Forged in Fury is very rhythmic and aggressive, offering everything modern Death Metal is comprised of, including sick guitar solos, harsh lyrics and a hellish atmosphere. It feels like a “special package” with three awesome songs in one thanks to the amazing job done by all band members. On the other hand, Soulless Impaler is way below the other songs in the album. The music itself never really takes off, as if something keeps holding it down, becoming quite disappointing after a while. Fortunately, in Burning of the Heretic it looks like the three brothers are mad at something or someone based on the level of devastation presented. I loved its riffs and how the vocals match flawlessly with all instruments, and what to say about the demented guitar solos delivered after four minutes?

If you want to do some sick headbanging, take a listen at The Isolated Truth to have your neck broken by its intensity. This is a good example of how they can sound clean and vicious at the same time, one of the main characteristics that took them to stardom. And like a squad marching to war, Krisiun deliver another Death Metal feast in Oracle of the Ungod, with highlights to the great work done by Moyses on the guitar, enhancing the song’s melody and flow, not to mention the metallic bass lines by Alex puncturing our ears. Following that sonic havoc, the groovy and progressive Timeless Starvation showcases the outstanding production of the album, with Alex mercilessly growling the story told in the song amidst a precise and intricate musicality. This great tune should sound amazing live, with highlights to its superb ending thanks to the flawless guitar lines by Moyses. I’m not sure what the short acoustic track Milonga de la Muerte is doing in the album, but it ends up being an interesting outro for its regular version. And if you grab a special version of it, you’ll be delighted with more of Krisiun’s unique destruction in Earth’s Cremation and with their brilliant tribute to Black Sabbath with their dark version for the classic Electric Funeral.

To sum up, as previously mentioned, Forged In Fury might not be masterpiece nor be among Krisiun’s best albums, but it’s still above average and a decent addition to the band’s belligerent discography. If you’re a longtime fan of the band and has been having fun witnessing their development through the years, you’ll have a good time listening to Forged In Fury. And if you’re new to Krisiun, go check out how Death Metal sounds a lot better when it’s forged in sheer fury.

Best moments of the album: Ways of Barbarism, Dogma of Submission and Electric Funeral.

Worst moments of the album: Soulless Impaler and The Isolated Truth.

Released in 2015 Century Media

Track listing
1. Scars of the Hatred 5:42
2. Ways of Barbarism 6:32
3. Dogma of Submission 4:55
4. Strength Forged in Fury 6:07
5. Soulless Impaler 6:11
6. Burning of the Heretic 6:21
7. The Isolated Truth 4:09
8. Oracle of the Ungod 4:43
9. Timeless Starvation 5:56
10. Milonga de la Muerte 0:53

Special Edition bonus tracks
11.Earth’s Cremation 3:49
12.Electric Funeral (Black Sabbath cover) 4:40

Band members
Alex Camargo – bass, vocals
Moyses Kolesne – guitar
Max Kolesne – drums

Album Review – Phobiatic / Fragments Of Flagrancy (2014)

Get ready for a technical and blustering sonic havoc by this terrific Death Metal band from Germany.

Rating4

COVERThere’s only one word that comes to my mind after listening to Fragments Of Flagrancy, the second full-length album by German Technical Death Metal band Phobiatic, and it’s DEVASTATION. That’s what this awesome band from Essen, Germany, offers us with their new album: a violent sonic war full of complex riffs and devastating drums, perfect for fans of the atrocious music by old school icons such as Morbid Angel, Dying Fetus and Suffocation, with an extra dose of modernity that intensifies their musicality even more.

Perhaps the most noticeable difference from their first album, disregarding of course the fact that all band members are a lot more mature and experienced now, is the change in vocals from the deeper guttural by Christian Markwald to the more technical and sharper voice by Sebastian Meisen. This change reminds me a lot of what happened to the music by American Death Metal masters Cannibal Corpse when Chris Barnes was replaced by George “Corpsegrinder” Fisher, which in my humble opinion was indeed a very positive change for the band.

It seems that Phobiatic wanted to send a message to all listeners as soon as the opening track starts, the raging Bugging Operation, telling everyone something like “this is what we do, and if you don’t like it just fuck off”. It’s a devilishly technical and violent song, similar to what Brazilian Death Metal monsters Krisiun do and highly recommended for all lovers of extreme brutality, or in other words, not for the faint of heart. In Downward Spiral they were able to accelerate things even more, with an outstanding chorus and drummer Kai Bracht showing no mercy for his drum set, while Ripped To Shreds showcases an impressive synchronicity between guitars and drums, with the demonic and boisterous vocals by Sebastian Meisen perfectly fitting all that music havoc. Furthermore, I’m pretty sure bassist Michael Stifft is a huge fan of Cannibal Corpse’s one and only Alex Webster due to the complexity of the bass lines throughout this song.

Then this nonstop Death Metal machine brings us House In Cleveland, which despite being slower than the previous tracks is as heavy as it can be, with focus on deeper guttural vocals, and the superb A Genius Of Manipulation, where the complexity in its very technical and fast drumming and guitar lines is truly above average. Not only that, the violence found in its chorus is another highlight of this extreme metal composition, contributing to elevating it to the status of best song of the whole album. The following tracks, R.A.T.T. and Suitable Method, sound totally inspired by the music of Deicide and Krisiun and remind you that you need to be in really good shape to keep up with their speed and brutality, especially the latter where we have another awesome performance by drummer Kai Bracht, with all music variations making the song even more complex and disturbing. I’m sure you’ll love the last part of this song, it is an amazing lesson in Death Metal.

phobiatic-photo3But before you can raise your white flag amidst all the rage and violence bred by Phobiatic, the band still has time to deliver us some more awesomeness in form of Death Metal: in Abnormal Dilation, vocalist Sebastian Meisen adds some desperate high-pitched screams to his vocal range, while Like Pigs In The Dirt goes straight to the point with its old school approach (and don’t forget to pay attention to the “beautiful” message in the lyrics). And lastly, we have Metropolis (Of The Dead), a more obscure track with a melancholic intro that suddenly turns into another pure Death Metal tune, with highlights to the excellent job done by guitarist Robert Nowak.

You can find Fragments Of Flagrancy on sale here, and I’m sure it will soon be available in other places such as iTunes and some physical stores. Let’s help this amazing brutal band spread their infernal music all over the world and torment our souls for many years to come. After all, that’s what traditional Death Metal is all about.

Best moments of the album: Downward Spiral, A Genius Of Manipulation and Suitable Method.

Worst moments of the album: House In Cleveland and Metropolis (Of The Dead).

Released in 2014 Unundeux/Cargo Records

Track listing
1. Bugging Operation 2:50
2. Downward Spiral 2:41
3. Ripped To Shreds 2:53
4. House In Cleveland 4:41
5. A Genius Of Manipulation 3:38
6. R.A.T.T. 2:42
7. Suitable Method 4:22
8. Abnormal Dilation 2:20
9. Like Pigs In The Dirt 1:45
10. Metropolis (Of The Dead) 5:40

Band members
Sebastian Meisen – vocals
Robert Nowak – guitars
Michael Stifft – bass
Kai Bracht – drums