Interview / Brent Elliott White

The heavy metal album cover art holds significant importance as it acts as a visual gateway into the genre, attracting many of us to its powerful and captivating world. For decades, the imagery associated with heavy metal albums has played a crucial role in piquing curiosity and sparking interest. It serves as a visual representation of the music's intensity, darkness, and rebellious spirit. Personally, like many others, I was drawn into the genre years ago by the imagery of a single album. The artwork resonated with me, evoking a sense of mystery, energy, and raw emotion that perfectly mirrored the music it contained. These album covers have become iconic symbols of the genre, forging a deep connection between the fans and the music they love.

While on the subject of cover art, it is fitting to explore the remarkable contributions of a specific illustrator who has left an indelible mark on the world of heavy metal album cover art: Brent Elliott White. His unique artistic vision and meticulous attention to detail have solidified his place as a revered artist in the genre.

Brent White Elliott, who is based in NYC, is a renowned illustrator and designer celebrated for his captivating album cover art. His distinct style and attention to detail have made him a sought-after artist in the heavy metal genre. Collaborating closely with bands, Elliott translates their musical vision into visually compelling artwork. With a portfolio featuring some of the most iconic bands in the scene, his imagery pushes boundaries while remaining visually captivating. Brent’s work includes covers for Megadeth, Trivium, Amon Amarth, Arch Enemy, and Death Angel.

I recently interviewed Brent about his work in the genre.

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Brent, thank you for your time.

First, thanks for having me.

How did you first get involved in illustrating album covers for heavy metal bands?

I had worked as an illustrator for a while before getting connected to the metal world, and that connection came through friends and acquaintances. I guess I’ve always had friends that have done interesting things; artists, musicians, photographers...seekers in general, I’d say. One friend of mine was tour managing Job for a Cowboy a while before I got into it. Another close friend happened to know the management of Trivium. I’d say my work up till then was pretty detailed, and I had done a horror comic, so I guess these friends just saw a fit and made some invites. I was probably on a path going towards metal for a while, even if I didn’t know it, but like any job or vampiric activity, you need to be invited in. Even then, I didn’t just jump into covers; I needed to prove myself a bit with merch pieces first.

What drew you to the genre of heavy metal and inspired you to specialize in illustrating for these bands?

It definitely was not a set goal of mine. Growing up, I always loved genre art, comics, and movies—science fiction, fantasy, horror. I loved representational art that transported you somewhere else. There has always been a crossover into the music world from this kind of stuff. The longer I’ve been in it, the more I’ve come to appreciate the connection. It’s all storytelling, after all.

When you think back to the beginning of your career, what was the first album art that truly captivated your attention and sparked your interest in illustrating for the music industry?

Definitely some classic rock covers as well as early metal: Storm Thorgerson’s Pink Floyd covers, Led Zeppelin (House of the Holy), Black Sabbath in general. I grew up in the 90’s punk era, so everything contemporary at the time was kind of anti-art, or maybe it was intended to be more ironic in a DIY sense. The less polished, the better, so I can’t say I was heavily influenced by the music I was listening to. Well, the Cramps had some cool shit, and the Misfits too.

Can you tell us about your creative process when working on an album cover? How do you capture the essence of the band's music visually?

I really wish I had a regimen or process that worked universally. I usually like to have a dialogue with the band, see what they’re into, or what they have in mind. Sometimes there’s a very specific thing they’re coming to me for, a classic illustration job that entails interpreting their vision. That works great if it’s a good idea. More often than not, there is some kind of leeway. They either have a title or a general theme they’re going for. I tend to want to make a piece that works as a concept album cover, as if all the tracks add up to a sum total concept, even if they don’t. I guess I feel that there’s something connecting the album together even if it’s not some narrative rock opera. Along the way, I’ll listen to whatever tracks they have and want to share (sometimes they aren’t mastered yet) or at least pour over lyrics searching for a good idea that I think fits. Then I’ll send them a concept and go from there. It really is different every time though.

Are there any specific elements or themes that you find particularly prevalent in heavy metal album cover art? If so, what are they?

Of course! Metal is pretty much a grab bag of everything dark and disturbing, right?! At least on the surface. Conspiracy is a prevalent one, though in recent years, here in the U.S. I have to say it’s not my favorite trope to work with at this time. It’s fun when it’s kitschy or classic (the Illuminati is coming!), less so when real-life dudes are shooting up pizza joints, grocery stores, concerts, churches... all based on some propaganda in the guise of a grand conspiratorial answer. We’ve crossed the Rubicon on that one.

Religious themes are ever-present, oftentimes in an adversarial way. Anti-institutional themes and distrust of authority are always there; they're like woven into the fabric. I’m into those when it’s healthy—to distrust authority when we see the abuse of it, and to portray institutions that aren’t acting towards equality as monsters! Leaders should be questioned; in that way, metal is an integral part of democracy. I’m all for that stuff as I’m pretty political myself. However, I just start to cringe when it becomes "distrust of everything" just for the sake of sounding cool, mostly because that’s not saying anything. Music and art have to say something.

How do you collaborate with the bands to understand their vision and translate it into a visual representation?

I mentioned a bit of that before. Specifically, it’s a worldwide industry, so mostly it’s done via email and phone conversations. We work through concepts, written or verbally, then sketches for the concept, followed by a finish, and sometimes reworking that finish. I like it best when the band has an idea but allows for interpretation.

Do you have any favorite heavy metal album covers that you've worked on? If so, what makes them stand out for you?

I don’t have kids, but I’d guess this would be similar to picking a favorite one of those, haha. I like the Job for a Cowboy (JFAC) covers as they have an allegorical quality I often find myself trying to get back to. I really enjoyed working on the Death Angel trilogy; I can see the evolution of my work in those, and they’re a great band to work with. Hell Chose Me (Carnifex), that one was difficult, and I can see the struggle. But I really like the character, and once I got to him, they liked where it went too.

Heavy metal often features dark and intense imagery. How do you balance pushing boundaries while still ensuring the art remains visually captivating and marketable?

These are really good questions!

I try to emphasize a strong centerpiece for one. We’re dealing with a square (or thereabouts), so it makes sense. A strong central theme or character is another thing I do. Sometimes I just want to do a landscape, get conceptual, but for various reasons, I can’t get away from that centerpiece/central character aspect. I also try to remain firmly uprooted from reality as I can get sidetracked when I try to get too literal. With that, I don’t do many guns, if at all. If there’s a gun in a piece of mine, it has something to do with the theme of the album (e.g., JFAC Demonocracy I used guns to depict a corrupt Sheriff in Maricopa County, Arizona; in Dystopia, the Vic character had a shotgun sidearm that was an homage to Mad Max). The blood and guts are often more implied than shown; that’s more my personal taste and preference. I guess that may lend itself to marketability, but I generally don’t think too hard about that part. I mean, I’m not doing anything crazier than the band isn’t already doing!

Are there any challenges unique to illustrating for heavy metal bands compared to other genres or industries?

I think there’s definitely some stoner roots to the genre, even if the band is anything but that. Lots of detail and description, rather than suggestion or even simplicity. You have to know your skulls, be familiar with some demonic lore, have a good understanding of cinematic references, and be able to figure out what makes a wolf look so intense. I’m not sure whoever is doing Beyoncé’s covers is overly concerned with some of these matters.

How do you stay inspired and continue to bring fresh ideas to your work, especially when working on multiple projects within the heavy metal genre?

That’s admittedly more and more of a challenge. The more you do, the more someone will want something “like that,” and sometimes it’s the opposite—they want something “completely original.” The former obviously makes it difficult to do something different, and the latter is just difficult because there are no “completely original” ideas, maybe original nuances, but nothing truly original. I can get sidetracked on that topic, so I’ll spare you some of that, haha! All in all, it can be hard to push your own boundaries in that sense. I know doing personal work is the remedy for that; it’s just that time is usually an issue there. This is something I am definitely concentrating on currently so I hope to have some progress to report on this question coming up!

In your opinion, what role does album cover art play in the overall experience of listening to a heavy metal album?

I think metal is fairly unique in that vinyl (hopefully) is here to stay. Physical sales are still a thing in the genre as there’s a fervent fan base. Fans, of any kind, like to “own” stuff. I mean that in a good way; I treasure my old comics (I once did a job for an early edition X-men. I never got it...). I enjoy looking at record collections, and I think it’s one of those things that says a lot about a person, not unlike their bookshelf (the real one, not the Zoom backdrop). Now that we’re streaming music, the album art can be displayed on TVs 3-6 ft (1 to 2 meters) wide! You could argue that the cover is even more important now; maybe the streaming services should be paying us artists residuals...but I digress. Metal music is visual as hell (pun intended); the cover is almost a visual style guide for the demented world the listener is immersing themselves into. Or at least that’s my hope.

Are there any specific bands or musicians that you haven't had the opportunity to work with yet, but you would absolutely love to collaborate with in the future?

Metallica! I should just leave it there; that would be a dream fulfilled. I’d love to get a call from Anthrax for the same reason. The ship has sailed on Slayer, unfortunately (I wasn’t their type anyways). My girlfriend said that Lady Gaga has some metal roots. I could totally do some literal little monsters for her! If Nick Cave ever wanted a metal-looking cover, I’d definitely drop everything for it! Well, except for Metallica. One does not drop Metallica for anything.

Are there any contemporary artists or bands whose album covers you particularly enjoy and find inspiring? If so, could you name a few examples?

I’ve always liked the Baroness covers. I really like how he incorporates the Pre-Raphaelite style with Art Nouveau; he’s really talented. Giannis Nakos is cranking out some crazy beautiful stuff. I really like his surreal dark landscapes. Eliran Kantor’s cover for Thy Art is Murder’s Dear Desolation was really good. He’s been around for a while doing great work.

Finally, do you have any advice for aspiring illustrators who are interested in breaking into the heavy metal album cover art scene?

Good question. In general, I’d say the bar has been raised on the genre’s art over the last decade, so you have to be good at what you’re doing. That said, you don’t need to be any one thing; you can work in traditional mediums or digitally. Sepultura even used a Kris Kuksi 3D Assemblage piece a while back.

Do NOT rip off other artists. There is a fine line between homage and theft, so stay on the right side of that line. This is an important thing to bring up now that we’re in the age of AI. Prompt artists are not artists. AI is Photoshop on steroids, and if you use it, you better be sure the material is stock imagery and isn’t copyright protected. AI does not get a free pass on theft, and I know for a fact that intellectual property lawyers are foaming at the mouth. So be warned. We are going to see labels and management companies using this, mostly because artists are largely seen as disposable to those types. They won’t get a free pass themselves, though, as they’ll be every bit as liable as anyone else. Stay on the right side of this, you’re welcome.

With that, know your rights. The work you create is yours (as long as it is indeed yours, see above) until you sign something that says it’s not. If a band, agency, or label comes to you for a piece, you can negotiate a usage agreement. This should be the route taken if you’re the one coming up with the idea and executing it on their behalf. Essentially, they’d be buying the rights to use the work and not necessarily own it. More often than not, bands/management companies/labels will want you to sign a “work for hire” contract in which they would definitely own your work “in perpetuity and throughout the universe.”

There is a difference, and you need to know what that is. Under certain circumstances, work for hire is okay in my opinion, but only if it fits the bill. If they come to you for something, they have the idea, and you’re visualizing it, then they need to actually hire you for the work. That means a clear contract, money upfront, kill fee, schedule, and written terms in advance. It’s happened to me where they throw this contract at you after you’re done. Well, that only benefits them; any benefit I would have received in terms of security is already gone at that point. I live and work in NYC where they passed a law called the Freelance Isn’t Free Act that outlines very clear rights for the artist and very clear legal remedies if lines are crossed. It’s a total game-changer for Work for Hire but only here in NYC. Know your local, state, and federal laws. You can bet their lawyers do. Like what I said about AI before, they get away with shit because they can. You do have rights, know them.

I’m making this sound bleak, and it’s not all bleak. It’s making art for a living. On that note, I think the important thing is to not just be a fan of metal. It’s great if you’re a metalhead; then you’re doing what you love, living the dream! But be a fan of art in general, be a fan of film, other types of music, know something about the subjects you’re illustrating. The band is doing the kinetic fun shit; you’re complimenting that or maybe even interpreting it. That’s going to be your job, so you need to be the visual “expert” in the “room”. If there isn’t one, someone from the band or label is going to step in to fill that void. The industry does not employ many AD’s (art directors), if at all. That’s you, young buck. Make yourself the visual expert and make sure your art is saying something.

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For more on Brent Elliott White, visit the following links: Website | Instagram