I recently did exhibitions in metal festivals such as Wacken, Bloodstock and Copenhell, and in galleries in cities like Chicago, Berlin and Liverpool, and there are a few more in the works, to be confirmed later this year.
www.elirankantor.com
www.instagram.com/elirankantor
www.facebook.com/kantoreliran
I have interrupted my regularly scheduled interviews to make way for a surprise guest, personal inspiration of mine and powerhouse in the world of album art, Eliran Kantor. You will recognise his work gracing the covers of the biggest albums in metal, from My Dying Bride to Immolation, Soulfly to Crowbar his work spans the breadth of the genre. He will also be our first non-photographer, a distinction I am happy to make. Art is after all, art. Brush, pen, guitar or camera that is just the tool we use to empty our mind.
David - In the age of minimal graphic design type artwork doubling down on your dark renaissance was a brave move indeed. How readily did the community accept this brave new direction? I remember seeing many years ago your cover for Sigh’s Heir To Despair (fittingly pioneering) but only after seeing Gaerea’s cover for Limbo did I connect the dots and really seek out your work.
Eliran - Thank you. I actually don’t think it was a bold move, since some of the most beloved heavy metal covers of all time fall under that description of dark renaissance. Albums like ‘None So Vile’ by Cryptopsy, ‘Blessed Are The Sick’ by Morbid Angel, ‘Nightfall’ by Candlemass, ‘The 4th Crusade’ by Bolt Thrower, ‘Into The Pandemonium’ by Celtic Frost, the list goes on.
The feedback from the music community, the metal community, the art community and just people in general has been quite overwhelming for me, and I truly appreciate all the kind words, the love and support I’ve been fortunate to receive over the years.
David - I feel your artwork embodies the albums in a very rare and special way, how do you go about it? Are you given a brief or do you listen to the music first? How many iterations does it take to get what we see? Also do you work around the logo or do they brand around your image? Many questions from a single sentiment.
Eliran - Thank you again. I do listen to the music a lot and I really care about metal and metal artwork and take both very seriously. I try not to lose that obsession I had early on, of wanting the music I love to have visuals that will describe it accurately but also give it a unique and memorable face and tell an interesting story. I usually ask for a very brief explanation of what is the general theme, the lyrics or the album title.
Iterations: since I begin with a very rough black and white draft, get that green lit, then do a quick color scheme text and get that green lit, and only then move on to details - there are not a lot of surprises.
Logos and titles: I plan these from the very first rough draft, since everything in the composition needs to work in harmony and have the right flow, balance and weight at the hand in order to make sure we’re not compromising on anything.
David - I always use one question selfishly and today is no exception. When are we going to see you work with Adam “Nergal” Darski? I mean, it’s a match made in heaven hell right?
Eliran - We’re just friends, we don’t really talk about working together. I have a similar relationship with a few other musicians from other bands. So possibly never, who knows.
David - I have begun to ask everyone this question and have yet to receive two similar answers. What relationship do you have with the viewer?
Eliran - Interesting question. I feel immensely lucky to be doing this. I never felt like I had a particularly great grasp on how to make others happy, certainly not how to make tens of thousands of people happy, and never attempted to cater to an audience, as I make all the decisions of the composition with the idea of making something I myself like, so again I feel very lucky that others find my ideas appealing. I never take it for granted, it's amazing to me and I'm very grateful.
David - As each piece you do is individual to that album and band, (aside from the likes of Venom Prison where you have been able to maintain a consistent progression with the band) how do you go about preparing your body of work for an exhibition? What is the thought process behind the sequencing and format you display your images? Also can you expand on your work with Venom Prison and the benefits/drawbacks of doing consistent work with an artist?
Eliran - I always pick my own personal favorites for the exhibitions. As for sequencing I actually leave that task to my wife Nicole since she really cares about that and about creating a flow that will be pleasant and interesting both in her eyes and as a result, to the audience. I don’t have that desire in me, and so I try and slowly let go of control in aspects I don’t really have a deep passion for.
With Venom Prison I think we’ve found a visual language that represents the band well, and so I keep that style only when I work with Venom Prison, and also make it evolve as the band themselves are evolving. And with that trust and friendship comes creative freedom which results in me feeling like I like what we do together more and more with each record.
David - Are you currently doing any side projects outside of the album art? Any other mediums you are experimenting with?
Eliran - Not really, it’s so time consuming that the peripherals of doing album covers are slowly becoming their own full time jobs: my print shop, my exhibitions, and now working on my first ever book.
And since most of my album covers are not really commissions, where I’m told what to do, but are me doing my own concepts with creative freedom, I don’t have the desire to do more personal works, since I’m already doing it. I’m more interested in using the very little spare time I have to be with my family, listening to music and traveling. But that might change if a new exciting medium presents itself and truly grabs my interest.
This is an absolute amazing opportunity for me. Eliran’s work has been on my mind for a very long time, ever since seeing that first cover. Such sharp intellect, metaphors that are obvious but so well crafted as to not be obscene and an artistic prowess to be able to achieve anything set before him. I am in awe. I very much look forward to that book you are working on Eliran.