Today CVLT Nation has something really special for you...we got an opportunity to sit down with Joe Petagno, the artist who drew for Motorhead for almost 30 years, inventing their classic mascot Snaggletooth, and also for bands like Hawkwind, Led Zeppelin and Nazarath, among many others. But there is so much more to his talent and person than those years - his paintings are breathtaking in their beauty and movement, and their ability to envision the fears of humanity. Petagno has lived all over the world, and has used his art to share the many wisdoms he has acquired in his life. At a time where so much of the world seems to be sleeping while they take it up the ass from Authority, Petagno reminds us that we are here on CVLT Nation because we aren't afraid to talk about what's wrong with the world and with how human beings relate to one another, and he inspires us to keep our voices raised against injustice. Without any further ado, check out our rad interview with Joe Petagno...
Hi Joe! How is life today?
Life is fine thanks, business as usual. At the moment I’m working on a new series of paintings rather appropriately titled the Wasteland, which has been inspired by the latest turn of events in Japan, Libya, Syria, Egypt, Afghanistan and Pakistan not to mention the rest of the insanity being broadcast daily at nine o’clock.
I’m also developing a few new T-shirt designs for the website and working on a video game concept in my spare time.
I am fascinated by and very appreciative of your explanation behind your seemingly violent artwork - that is, as a warning of what may come if humanity stays on it's current path. What do you see as that path, and who is leading us down it?
Same old story, the path of darkness, ignorance and fear and we lead ourselves down it. Man is born free but is everywhere in chains. Our entire life is built upon violence or fear of it and authority: Priestly, Divine, Political, Economical, Social and Moral. It’s always the same executioner wielding this power and what’s more, we free willingly hand over this power, rather than take control of our own actions. We’re controlled from the cradle to the grave and with war being the health of the state, people at war become even more obedient and respectful and the mass of men serve the state not as men but as machines, there is no free exercise at all, actually we’re on a level with wood and stone.
The gift of reason and critical reflection is obviously not one of man's outstanding peculiarities, we are so depraved by this continued slavery we can’t imagine administration without violence and if you have to resign your conscience to the legislator, why the hell have a conscience?
If we’re not continually proving our mastery over others, we become prey to panic of being defeated and victimized, in the end the goal of regulation no longer remains the well-being of men and the preservation of the ecosystem…but becomes the preservation of a political, social or even worse economic institution at the expense of the living systems, sacrificing our evolutionary flexibility. The establishment of universal suffrage does not guarantee the freedom of any people.
In general, do you see the world as a place of darkness and corruption, or do you see it as full of beauty and community? Why?
In spite of my Art, I see the world as a potentially light place but we continue to darken it with human stupidity, my Art is just a reaction to or a reflection of that stupidity.
Metal and art have an intricately woven relationship, more so than most musical genres; from the artistry of band logos, to band mascots like your Motorhead Snaggletooth and Iron Maiden's Eddie, to the emphasis on album cover and poster art. Why do you think this special relationship between metal and art exists?
It exists simply because a picture is worth a thousand words and thankfully the pen is still mightier than the sword and hopefully will continue to be in spite of the near hopeless situation I mention above.
I think Metal is and will always be a call to arms, a shout, a plea to join the Army of hordes screaming to be heard above the din of battle, and Snaggletooth symbolises this shout better than any symbol created to date, and anyone reading this who agrees with what is being said here, should stand up and be counted and join the Army today at petagno.dk and let your voice be heard!
How is the aesthetic of the metal album cover art you do today different from your early Motorhead days?
I don’t think it is different, I think it’s a constant; as I say, stand up and be counted utilizing your Art, Music, Literature, whatever, just SHOUT!
The only way to improve the current state of the world is by active engagement, nothing else will suffice, we can change anything we want, and we have a choice and a voice. We don’t have to live in contradiction of ourselves, being continually apprehensive, the dupers and the duped, the liars and believers, somnambulistic until some extraordinary event forces us look around us and at ourselves, anyway usually by the time that happens it’s too late.
You started out in L.A., but it seems like your life has taken you many places around the world so far. When did you first leave L.A.? Where do you feel most at home?
I was born in Maine, we went west when I was 10. I spent most of my youth driving from one end of sunny Cal. to the other looking for the perfect wave.
When I left High school I started freelancing with the underground, the L.A. Free press, the Oracle, Rolling Stone etc. as well as doing hordes of black light posters and some sleeve designs. By 1972 I was ready for a change and I left L.A. for Europe.
Today I feel home anywhere and if I may rephrase Kerouac:
Home in Missoula, home in Truckee, home in Opelousas, is a home for me.
Home in Old Medora, home in Wounded Knee, home in Ogallala, Home I’ll always be.
What was your favorite thing to draw as a child? Did your parents nurture your artistic side?
Mostly war pictures, Crayons were my favourite toys and I started drawing early, both my folks were encouraging. My Mother drew a little and taught me some basic skills.
An Uncle was an avid comic book collector so I was exposed early to the likes of Black hawk, Terry and the pirates, Steve Canyon and Men at War...I was hooked from the start.
When did you first decide that being a graphic artist for the music industry was your path in life?
I was interested in music and at one point was going to be a drummer.
In school I was continually asked to draw pictures for everyone, the subject matter was either Surfin’ or Music personalities like Dylan or Lennon etc. so I guess it just sort of happened of its own accord, destiny so to speak.
How did you end up working with Led Zeppelin?
I was working with Hipnosis in London and the job came in, I was asked to make some sketches for the logo and came up with about 5 different ones, in the end they, “Zeppelin," asked me if I could do a version of Rimmer’s angel. Needless to say I said yes, although my original designs were better in my estimation.
I know you have been asked this a million times, but tell us an awesome Lemmy story!
Nah can’t help you there; I’m all out of awesome Lemmy stories.
Fair Enough!
When you design an album cover, do you work closely with the band to shape your vision, or do people let you decide the artistic direction of the album?
Normally they just turn me loose...95% of the Motôrhead work was done this way, as is most of my work I do for bands.
They contact me for Petagno Art and trust me to come up with an image from their lyrics or rough mixes etc. I don’t take direction easily, I know my job and they know theirs, if a band asks me for something specific I’ll consider it and if I think it can be done satisfactorily I will execute it for them, but usually I will take their idea and change it into Petagno Art.
What are three of your favorite heavy records & why?
That’s a difficult one; I listen to a lot of music, but off the top of my head…
Marduk - Wormwood, Ministry - Last sucker and Machine head - The more things change - for all the reasons I mention above.
Thanks Joe, it has been an honor to speak with you! You are truly an innovator and you speak wise words. Thanks for your time and for supporting CVLT Nation.
Today CVLT Nation releases Vol. II of our mixtape series. This volume is a sonic bloodbath of blackened audio torment! From the time you press play, the onslaught on your senses is on! CVLT Nation Vol. II highlights many super gnarly unsigned bands that will totally crush your skull, plus killer signed bands that bring the hate as well. No more words, just fucking listen to this mixtape! Make sure to peep the track list after the jump & scroll over the image for the download option.
1.Children Of God : Commanding Views Towards The Inevitable**
2.WEEKEND NACHOS : You Could Exist Tomorrow
3.Rot In Hell : Behavioral Resistance MMIX
4.City Bones : Hold Back**
5.VACUUS : II**
6.Arts : Perfumed Saturnine Angels
7.V/A : Filth in the Light**
8.Torture Chain : III**
9.Abyssgale : Infected Wind of Creation**
10.Kata Sarka : Wearing the Rings of Saturn as a Halo**
11.Per Capita : The Damage Done
12.ALPINIST : PROJECT FATIGUE
13.DRAINLAND : I Am Larry Clark
14.Young And In The Way : Botheration**
15.Little Sister : Idols To Dust**
16.Coffinworm : The Sadistic Rites Of Count Tabernacula
17.HeavyCROSS : Moon Frost**
18.Black Monolith : Dead Hand**
19.Wake : Cannibal Design**
20.Endless Disease : A World in Ruins**
SUPER KILLER UNSIGNED BANDS**
CVLT Nation would like to thank all the Bands for wicked music!
For those of you unfamiliar with GIVE UP, he is a wheatpaste artist from the great state of Texas. His work can been seen all over Texas, United States, zines, album covers, and his own line of GIVE UP brand clothing. Make sure to check out his blog for updates on his awesome work along with his webstore! Last week, CVLT NATION had the pleasure of talking to the man one on one about life, chase stories, Oprah, and more. Read the rad interview with GIVE UP after the jump!
What's a typical day in the life of GIVE UP?
Wake up when my body tells me to, try to find a place to check email, look for spots, claim spots, go to the post office. Shoot photos and/or go to the copy place to work on art stuff. Almost everything I do relates back in one way or another to art stuff, but other than getting up, not a lot of it is super exciting.
Is there a story behind your name?
I never really thought of it as a name. When I came up with the original image of the razor with the "give up" under it it was just something kind of tongue in cheek that my friends might think was funny but would be a fuck you to everyone else. As the art evolved it became more and more of a stamp or identifier within each piece, and kind of became considered a name from there.
What came first, the can or wheatpaste?
I wrote graffiti for a few years before realizing I just didn't have it, and probably had gone as far as I was going to with it. Took a while off and worked on more art things that didn't really lend themselves to a can, but I still wanted to get up in a way and as I was pushing the limits of my ability or experience with screen printing, doing wheatpaste stuff seemed to make the most sense. Plus, it was new and exciting the way graffiti had been for me in the beginning.
How would you describe your style?
All of my stuff comes from photos I shoot and then manipulate and arrange at a photocopier with scissors and glue in the manner of old punk and hardcore fliers, so I guess I'd say my style is cut 'n paste.
Where do your ideas/inspiration come from?
I don't like to force anything. If I don't have any ideas, I just don't produce, but then sometimes my mind just feels flooded and I have to get it all out as fast as possible. Working on this stuff is almost therapeutic in the way that making things and going out to smash spots is somehow a more constructive outlet for whatever anger or conflict or short comings I'm wrestling with at a particular time. In the last few years, I've been really drawn to and inspired by more organic themes. There's a lot of beauty in nature, but the natural world is also a really brutal place.
How do you think the Houston graffiti scene has changed in the past decade?
It seems like graffiti kind of flows like the tide in Houston. Sometimes people are getting up real hard and other times it's a little thin, but it's always there and you can always count on it coming back up. When I started doing wheatpaste there wasn't a lot of that happening in Houston. There still aren't a lot of wheatpaste guys in Houston, but the ones that are there are really active, and now with the hype around the Stick 'Em Up movie it seems like people are just coming out of the woodwork.
You seem to have grown a cult following. I recently saw a picture on your blog with a girl that tattooed your name on her arm. Did you ever think it would get as big as it did?
I never had any intentions or aspirations other than making stuff I wanted to make and getting up, and anyone that didn't like it could take a shit. That some people have been able to get behind it or appreciate it on some level really means a lot to me. I feel really fortunate to be in a position that anyone would actually even want to look at my stuff. That anyone would want to purchase my work or get something related to it tattooed on them is just incredible.
You've done work with plenty of bands everything from album art to fliers. Do you ever see yourself working with any mainstream media? Clothing lines, blogs, etc.?
I'm not opposed to any of that. For so long, I wanted to separate myself from anything graphic design related and wanted to really self identify as an artist, even though I can acknowledge a lot of my work has a real design feel. I've been learning stuff lately about using computers and using templates and stuff so I can be more involved in the actual assembly of album covers and such, as opposed to just sending the labels finished art.
Current albums in rotation?
Lately been jamming the new Rot In Hell full length, new Trap Them, Gray Ghost, KING DUDE, and then stuff like Nadja, Wolvserpent.
Any cool chase stories or do you plead the fifth?
Basically, I've found that if you act like you own something then you do. The last time I ran was the first time in years, and it's probably been almost two years since. I was with a friend and this dude tried to run us down. We took off through this boarded up apartment complex, and as I'm going over the fence I remember thinking, "why am I running? We should just stomp this dude out and be done with it." But that really wouldn't have benefited anyone, and running is just part of it sometimes. Ended up ducking behind the dumpster at an adult book store until I knew the coast was clear, but we lost the guy pretty easy, so no harm. Running from cops hasn't been an issue since I quit writing real graffiti.
Man, I watch Oprah every day. It's her last season you know.
What do you think about CVLT NATION?
Great stuff. Thanks for doing this interview. I'm really stoked to have any kind of association.
Final thought?
I've been trying not to think too hard lately.
A few weeks back, I posted about the latest release from Houston artist GIVE UP, titled "Lonely Days And Wasted Nights Vol 2". Since then, GIVE UP has been very busy! GIVE UP has a few shows this month, so if you're in the Houston area and want something rad to do or have been meaning to pick up some one of a kind GIVE UP artwork, here's your chance! You can do so on Saturday 21st at Hardy & Nance Studios, 902 Hardy St. Houston, TX, 77002. Later that night, head over to the Calico Grounds table at Zine Fest Houston which will be taking place at Khon's, 2808 Milam St. Houston, TX, 77006, from 4pm-10pm. Can't make it? No worries. GIVE UP has one more show at the end of the month (May 27th) for the OFF THE WALL group show at Mega Host Gallery, 901 Richmond Ave. Houston, TX, 77006.
CVLT Nation would like to thank GIVE UP for the rad interview!
Today at CVLT Nation we bring you a very special interview with the Seattle Neo-Folk artist King Dude. His music drips with Old World doom & his haunting melodies might be the soundtracks to your nightmares. 2011 is going to be a very grand year for him - a European tour & his soon to be released album on Dais Records. Now travel into King Dude's mind & check out the interview after the jump...
King Dude : Slaves
How are things King Dude?
Things are going pretty good thanks.
Where is King Dude based?
I live in Seattle, Washington.
Do your surroundings have an effect on what you create?
When I write or play music it's usually inside, so no...I've moved about 5 times since I've started King Dude and the only thing my surroundings really affect are what kind of ambient noise is getting recorded along with my songs. When I lived down by this river the sounds of boats were picked up on the song Black Triangle, and at our last place the neighbor's dog would bark a lot when I would record so that's on some of the Tonight's Special Death record.
How did the whole concept of King Dude come about?
I was really bored and wanted to play music that didn't require other people. So that's really it. The name was a bit of an inside joke between me and a couple friends, but after awhile I really liked it.
You are the singer/lyricist for the epic black metal band Book of Black Earth; is your lyrical process different when writing lyrics for King Dude?
Yeah, I don't have to write King Dude song lyrics if I don't want to, so I think that makes it bit better. Sometimes in Book, I am a bit forced to get things done - like, we have a show and the songs need lyrics, or we are recording and I have to write lyrics that week in the studio. Also, I don't have to take other people's feelings into consideration with King Dude, so I think it can be a bit more honest or artistic.
You have been in many musical projects over the years, what makes this one special to you?
I guess it's a really introspective journey for me. I like the creative process and recording best, so it's a lot of that for me...Also I don't have anyone in the band with me, so if it fucking sucks, it's all my fault you know? I guess that's pretty special.
Why do you think so many really rad heavy front men are picking up a guitar & going acoustic?
I had no idea that they were!
Take us into the mind of King Dude: what inspires your music?
Death, religion, love, Lucifer, nature, primal feelings...Stuff like that.
To me it seems that many of your songs invoke a vast sense of space...is that something that is important to you?
That's probably all the white noise playing tricks on your ears.
The Black Triangle 7" cover
When listening to King Dude I hear this country, folk & gothic happening all at the same time, is this something that is just organic in your music, or is it intentional?
Yeah, I don't know? I guess it's an amalgamation of all the different stuff I listen to. I'm an American who loves neo-folk, country, goth, folk, psych, and all different kinds of music. It usually ends up as a big mix of my influences. One thing I won't do is be afraid to make a real country-sounding song. I serve the songs, so whatever they need to get written is what I end up doing. I work for them.
Do you think there is something more sinister about heavy lyrics sung over softer music?
Yeah, definitely. It's a lot different than screaming over really loud metal, you can actually hear and understand what I'm saying and I think that tends to set people a little off. Lyrics-wise, it's a lot of the same stuff as my other bands, but this gives me an unfiltered sort of quiet voice to speak to people with.
Who are some of the female vocalists that inspire you?
My wife Emily is great, she sings on a lot of the King Dude stuff. Chelsea Wolfe has a wonderful voice, we are recording some songs together next week in LA. Jessy from Tiny Vipers is an absolutely incredible singer. I love Nico and Earth and Fire too. I like strong singers, men or women.
How important is touring to King Dude?
We are going to Europe this fall for a few weeks so pretty darned important I'd say. Although, I have a life at home that I enjoy very much and that keeps me from wanting to be on the road all year round. I am not very interested in touring the full USA. I've seen most of it a couple times over and I don't like a lot of it. I also don't like traveling by car or van. If I can fly to a city I like, play a show, hang out with my friends, have some drinks, then fly home, well that's all I really want.
Who translates the musical message of King Dude into the visual message?
Emily does a lot of my videos, but all different people have made stuff for us. Marielle directed the Black Triangle video which stars Emily, and other folks have stepped up to make videos for me as well. I truly just feel blessed to be working with all these immensely talented people. I am glad they can find the inspiration to make anything from the songs.
CVLT Nation had the chance to interview The Lord of the Blackened Pen...Mark Riddick. Since the early 90's, he has dedicated his creative spirit to the dark arts. Within his imagination, maggots are butterflies, decaying skulls & rotting human flesh are things with virtues to be extolled. Mark has drawn for too many bands to even mention in this small amount of space. He has also had gallery shows all over the world. One thing that also really impresses me about Mark is that he is totally down to support the younger generation of artists that are coming up. So after the jump, check out this really insightful interview with Mark Riddick.
What uppers Mark...how are you chilling?
Things are busy as always, thanks for asking.
At what age did realize you had a passion for art? Did your artwork have a dark vibe even as a child?
When I saw IRON MAIDEN’s self-titled full length LP on the record store shelf at age six, I knew then that illustrating for heavy metal music would be my calling in life. I began to take my art more seriously and found an outlet for my illustrations in 1991, at age fourteen, when I was introduced to the international underground death/black metal scene. I began networking, via postal mail, with several bands, fanzines, tape traders, and record labels from all over the world. The connections and friendships I made during this time helped me to get my work published in various fanzines, on demo and record covers, and T-Shirts, etc. During my childhood, my drawings were typical of what you would expect from a male adolescent; depictions of robots, monsters, dragons, landscapes, battle scenes, super heroes, and of course big-breasted women.
Did your parents nurture your artistic side?
Absolutely! My parents were always very supportive and tolerant of my illustrations during my childhood and they continue to be so today. They enrolled me in private art lessons during my formative years and encouraged me to pursue my art throughout my high school and college educations.
Did your parents nurture your artistic side?
Absolutely! My parents were always very supportive and tolerant of my illustrations during my childhood and they continue to be so today. They enrolled me in private art lessons during my formative years and encouraged me to pursue my art throughout my high school and college educations.
What artists inspired you when you were younger?
When I was much younger I was very inspired by comic book artists like Art Adams, Todd McFarlane, Bernie Wrightson, and many of the EC comic book illustrators. As soon as I started getting into underground death and black metal music I became heavily influenced by Chris Moyen, Alfonso ‘Artgore’ Ruiz, Steve Somers, Sean Carr, Paw Nielson, Wes Benscoter, Ed Repka, Dan Seagrave, and Kristian ‘Necrolord’ Wahlin. In recent times I have also taken a great liking and camaraderie with fellow metal illustrators Daniel ‘Desecrator’ Corcuera, Matt ‘Putrid’ Carr, Justin Bartlett, Kris Verwimp, Christophe Szpajdel, Mike Majewski, Halsey ‘Halseycaust’ Swain, Jeff Zornow, Toshihiro Egawa, and several others.
What would you say has been the greatest gift that being an artist has given you?
The best gift has been my livelihood, followed closely by the opportunity to work with and illustrate for some of my favorite metal bands.
Can you remember the first band that believed in your rad talent & gave you a shot?
Yes, the first band to solicit and publish my work was a little known grindcore act from Kentucky called SON OF DOG. I did an illustration for them in 1992 which was used on a 7” record cover and T-Shirt.
How did it feel when you first saw someone using your art?
It was an amazing and rewarding feeling to see my illustrations in print for the first time; even if it was a short-run photocopied underground fanzine or a limited edition demo tape. Much of this feeling is gone when I see my work in print now but the exciting part about what I do these days is the anticipation of who my next client will be. There is also much thrill in conjuring something from nothing, hence the power of creativity.
Was there one band that commissioned your work and made you realize you were living out your dream?
Yes, as I mentioned this is one of the most exciting things about being an illustrator for the metal scene. It seems that every year I get a commission that completely blows my mind, my most recent being a piece for MORBID ANGEL. I would say that the commissioned piece that made me realize I was living my dream was doing the LP cover for AUTOPSY’s “Ridden with Disease” in 2000. The LP was a repress of their early demos plus some live material by Hammerheart Records.
One thing that impresses me about you is that it seems you are really keen to support young artists worldwide. Why is this important to you?
I frequently get inquiries from young artists writing to ask about my artwork, whether it be my process or how I manage my clients, etc. I always do my best to write everyone back as I believe it is important to support others who have similar ambitions. I believe it is vital to be a model for others and to mentor as often as time and resources will permit. The metal community is a well-connected force and it’s essential to set an example by maintaining a strong work ethic, a professional attitude, and some humbleness. I’ve witnessed artists with immense talent in this scene fail because of poor customer service or the inability to follow through…these are mandatory components to success and I highly encourage any illustrator who wants to do this sort of thing to follow through with their passion. No one becomes successful by being lazy.
What do you think it is about the dark & gory side of life & death that brings you the joy to create?
I believe that a part of the human condition is to have a curiosity about death. Death is the only finite thing we know and it is absolutely inevitable that we’ll be confronted by it. An exploration of the ‘darker’ aspects of life opens the path to further wisdom, self-evaluation, and introspection, all of which are things I value and I hope that others might find value in.
If you could reinterpret any so-called art masterpiece in your own style, which piece would it be & why?
I’ve never thought about this in great depth but I am a fan of the Flemish artists of the Middle Ages; it would be intriguing to interpret a work of Hieronymous Bosch or Pieter Brueghel. Their paintings and illustrations of common medieval life and visions of Hell (commissioned by the church) are absolutely stunning and filled with immense detail. Reinterpreting one of their works would be a cumbersome endeavor for sure.
Do you listen to music while you are drawing?
Yes, I do sometimes listen to music when I illustrate. It depends upon where I am in my house as I have a four-month-old daughter and three-year-old son at home so I tend to draw at the kitchen or dining room table so that I can be close to my children and wife. If I am listening to music, it is in my private art studio spinning vinyl or playing cassette tapes…lately I’ve been listening to a lot of South American and German underground speed metal music.
Do you remember the first metal album that made you say, fuck this is gonna be my music & culture?
It’s not really metal, but BON JOVI’s “Slippery When Wet” was the album that turned me on to hard rock and heavy metal music. It only got faster and heavier from there.
In closing, thank you Meghan & Sean for your time and support in CVLT Nation. To view more of my illustrations, please visit my website at: www.riddickart.com
Today CVLT Nation has something really special for you...we got an opportunity to sit down with Joe Petagno, the artist who drew for Motorhead for almost 30 years, inventing their classic mascot Snaggletooth, and also for bands like Hawkwind, Led Zeppelin and Nazarath, among many others. But there is so much more to his talent and person than those years - his paintings are breathtaking in their beauty and movement, and their ability to envision the fears of humanity. Petagno has lived all over the world, and has used his art to share the many wisdoms he has acquired in his life. At a time where so much of the world seems to be sleeping while they take it up the ass from Authority, Petagno reminds us that we are here on CVLT Nation because we aren't afraid to talk about what's wrong with the world and with how human beings relate to one another, and he inspires us to keep our voices raised against injustice. Without any further ado, check out our rad interview with Joe Petagno...
