Interview 27｜Lord of the Logos: Christophe Szpajdel
Q / Vincent Chen
A / Christophe Szpajdel
1. In the commercial world, logos often change with trends and fashions. Although it's less pronounced in heavy metal, you've mentioned that bands nowadays prefer to mix more elements into their logos. Do you think there have been any landmark events in the history of metal logos that have influenced the overall design trends? Your design for Emperor is certainly one of them, and I'm also curious about what other design trends have emerged since then.
A: The main reason of that evolution is the need to stand out of the lot with a much more crowded scene than 4 decades ago. As a result, there is a need to be instantly noticeable. As opposed as last few decades when all the bands had either heavy metal or speed, thrash, death metal, hardcore, punk, crossover, grindcore, stoner, In contrast to the last few decades, when bands primarily focused on heavy metal, speed metal, thrash metal, or even early death metal, the music landscape has changed significantly. I felt that artists now have the freedom to explore and innovate in ways that stand out. While there are numerous subgenres in contemporary music, this has also led to overcrowding. Everyone wants to be original and unique, striving for their own interpretation; paradoxically, many end up inadvertently copying each other without realizing it. I created the Emperor logo back in 1991, a time when most black metal bands had very intricate or bushy logos—just think of Mayhem or Darkthrone, for example. With the Emperor logo, I aimed to design something iconic, unique, eye-catching, and most importantly, memorable.
2. How do you view the global spread of black metal culture? When it comes to black metal bands from non-European countries, do they explicitly request designs that differ from those of European bands?
A: Initially, black metal bands were predominantly concentrated in European countries. For example, the UK was home to Venom, while Switzerland produced pioneering bands like Hellhammer, Celtic Frost, Messiah, Excruciation, and Samael. Denmark contributed groups such as Samhain, DesExult, Black Rose, Mercyful Fate, and King Diamond. Norway was also significant, with influential bands like Mayhem and Darkthrone emerging in the mid-80s.
The themes of these early black metal bands often revolved around Satanism, darkness, and witchcraft. Over time, the focus expanded to include South America, particularly Brazil, with notable bands like Sarcofago and Tharithimas. Peru contributed bands such as Mortem, Goat Semen, and Black Angel. In the USA, pioneering bands like Profanatica, Demoncy, Von, Malfeitor, Pontius Prophet, Necrovore, Possessed, and Hellpreacher emerged during the 1980s when the genre was still in its formative stages. In the 90s I discover Asia was generating some excellent black metal bands like. Impiety, Abhorer, SilKhannaz, Profancer/ Xasthur (not the USA legendary dsbm act), Nuctemeron, Vociferation Eternity, Langsuir, Surrender of Divinity, Be Persecuted…. As they were some of the most sensational Asian bands I came across during the 90s and some of them actually started developing their own concept of dark knowledge based around Buddhism Hinduism, animism, Shintoism, and other minority religions or religious orientations. This has been the need to involve artworks which are inspired by traditional Asian patterns and that is what actually helped them to stand out from the lot by just being unique and forging their own identity.
3. Now that your clients are spread all over the world, have you ever encountered disagreements with bands from non-European countries due to cultural differences? How do you usually resolve such disagreements?
A: Thank you for bringing this to my attention. Based on my experience, I haven't encountered significant disagreements with bands from non-European countries due to cultural differences. I believe that adaptability is key. It’s important to start with sketches and seek reviews and feedback during the sketching stage, even though this process can sometimes take longer.
Recently, I worked with a client who had very specific requirements for a logo that featured traditional Colombian motifs, such as the May and headdresses. This required extensive drawing and led me to request additional time to accommodate this project while fitting it into my busy schedule.
To manage my workload effectively, I use a system of prioritization. I focus on clients who need a fast turnaround in the "fast lane," while clients who are not in a hurry but have particular needs are placed in the "slow lane." You can imagine it like a highway, where one side has trucks and slower vehicles, while the other side has fast cars, often businesspeople rushing to meetings.In my case, cultural differences don't pose an issue, as I am a firm supporter of diversity.
The only issue I have is with bands that oppose diversity and tend to support imperialism. This is why I am conducting a thorough consultation with the clients we are discussing. I definitely do not want to work with any client that supports Russian imperialism or extreme forms of domination.
4. I know your all-time favorite is Celtic Frost, but are there any new bands from recent years that you particularly like? Have these new bands brought you fresh inspiration for your creations?
A: Back in the 80s, bands like Venom, Celtic Frost, Motörhead, and Possessed served as the core inspiration for my artistic and musical endeavors. However, I must admit that many other bands have also influenced my creativity.
Let me mention some that have inspired me: the Malaysian band Vociferation Eternity, the Italian band In Tormentata Quiete, Wolves in the Throne Room, and the Ukrainian bands Kozak System, Colotyphus, and Severoth. I'm discovering a multitude of new bands that bring unexpected approaches to songwriting, and that is what truly inspires me.
Always stay inspired and dare to create! You can't exhaust your creativity; the more you create, the more inspiration you gain, and the more eager you become to explore new horizons.
5. Some people think metalheads are a relatively conservative group. I’d like to ask about your experience working with bands. From the perspective of bands as clients, have you noticed any significant changes in their attitudes since you started in this field? With more logo designers and tools available now, do you feel the competition has become more intense?
A: Over the last 10 years, I have noticed a significant shift in attitudes. Nowadays, clients, including bands, record labels, and clothing companies, are more likely to seek the cheapest deal possible. However, I must say that I refuse to lower my standards. I have been working in this industry for 40 years, and I believe that anyone who wants to carry my name as a brand must understand that part of knowing what you want is knowing what you must give up to achieve it.
There’s a platform called Fiverr, and I’ve also seen people posting on Facebook when they need a logo. They often say, "Hey, can anyone create an awesome metal logo for just $1?” Within hours, they receive countless offers from people competing against each other, proclaiming, "I can do a logo for $1, and it comes with unlimited revisions!” Others claim to do better, offering logos for $1 plus an ad banner in all major magazines worldwide. I even see people saying they can get advertising rates at unbeatable prices and offer to attend gigs, promote the bands, and shout them out on social media for as little as $1.
This is the kind of competition we face—it's akin to industrial prostitution.
6. Apart from band logos, your client base has expanded to the film and fashion industries. I know Kanye West’s team reached out to you before. Have you continued working with clients in the fashion industry? Have there been any unexpected clients (whether it’s fashion or not) approaching you in recent years?
A: I have been working with a South Korean fashion designer named Juun.J, who has experienced significant success, and we currently have ongoing projects together. At first, I was a bit sceptical because I thought their reach would be limited to a specific part of the world. However, they have a strong online presence and are successfully attracting a broader audience.
I believe that fashion design is an exciting field to explore, as it opens up many new opportunities—especially the chance to connect with a different type of audience beyond the traditional heavy metal fan base. This approach allows for an expanded perspective on branding.
I've noticed that metal logos have gained popularity since I created the Rihanna logo in 2016, and the general public now often associates certain designs with death metal. This is similar to how the Pacific chorus frog has become a recognizable symbol of frogs in popular culture. It’s something I would love to continue pursuing.
7. What kind of clients do you dislike the most? Would you prefer a client who is very clear about their goals but extremely picky, or one who is easygoing and communicative but unsure of what they want?
A: This is a very difficult question because both types of clients can quickly turn my enthusiasm into frustration. On one hand, extremely picky clients often become micromanagers, which constricts my creativity. For example, they may want their logo to look exactly like another client's logo, disregarding copyright infringement issues. In my experience, these clients tend to be difficult to convince and challenging to work with because they have preconceived ideas. They are also more likely to have reached out to many different people on cheap platforms like Fiverr, receiving a flood of submissions since everyone is eager to get noticed.
On the other hand, I strongly prefer easy-going and communicative clients who are uncertain about what they want. This uncertainty allows me the creative freedom I thrive on. I would like to tell these clients that it’s important to understand that they need the expertise of a skilled designer to guide them. I often think, if they had accepted one of my numerous proposals regarding the sketches and concepts, they would be in a much better position right now. Currently, it seems some of them, who are too much anchored on a particular vision like “I want this part of the logo to look rigorously exactly like the example in the PDF enclosed” are not showing appreciation for the work involved, which isn't a pleasant situation.
We sign a deal based on an idea or a direction. If you choose to go in a different direction, you may realize that it won’t result in the outcome you hoped for. I’m telling you this so you are aware of the potential pitfalls ahead. I would like to address something very important for clients who tend to be overly picky or are too rigid in their vision. When clients focus on one specific idea and micromanage, insisting that a logo must look exactly like an example they've provided in a PDF, it can hinder the creative process.
To these clients, I suggest considering posting your job on platforms like Viber. When you do that, you'll find plenty of candidate designers—literally hundreds—who will inundate you with submissions, sketches, and ideas. It creates a competitive atmosphere, with designers eager to prove they can deliver exactly what you want. You might even receive offers for free websites or advertising, all for a very low cost, sometimes as little as $1. From my experience, using platforms like Fiverr, where you can run contests, often leads to the best and most cost-effective results. You'll likely get exactly what you're looking for at a very low price because everyone will be trying to stand out.
There's an apt story about a cheetah in a greyhound race: when they lined up to see who was faster, the cheetah remained still in the starting box without making a move. The moral is that sometimes, trying too hard to prove yourself can be counterproductive. It’s important to remain flexible and open to new ideas.
8. In 2015, when Foo Fighters used your design on their Christmas jumpers without your authorization, you resolved the conflict in a very clever way. This made me realize that you have a strong business mindset. From a revenue perspective, have you ever thought about scaling up your business? For example, starting your own company with a full-time operations and marketing team, and working with larger clients? The downside, of course, is that it could disrupt the balance in your current life. I’d love to hear your thoughts on this.
A: I want to address the issue regarding the Foo Fighters using my design for their so-called "ugly Christmas jumper" without my authorization. Initially, a few people posted on my timeline, commenting on how unattractive they found the Foo Fighters logo, which has been poorly modified and taken from my Emperor logo by an unskilled graphic designer.
To handle this situation, I created my own version of the Foo Fighters logo, which I refer to as "fun art" or a "fun logo." As a fan of the Foo Fighters, I adapted their image to come up with a refreshed logo. I designed it with the two F's in a circle and the band’s name in similar lettering but with a black metal accent. When I posted this new logo, I explicitly stated that this is how the Foo Fighters logo should look for an ugly Christmas jumper. I also suggested that they consider creating their own "not so ugly" Christmas jumpers and sell them online.
Shortly after, I was contacted by a representative, likely part of their team, named Jesse Mincemoyer. He reached out to me back in 2015. At that time, I had someone in California, Nino Mejia, who assisted me with several art exhibitions in Southern California and the vectorization of logos. He had excellent management skills, so I delegated the communication with the Foo Fighters team to him to ensure my interests were protected. This collaboration resulted in scaling up my business and generating sales, with the logo ultimately being sold for $1,750.
If my memory serves me right, this happened more than ten years ago, and I haven’t heard anything from the Foo Fighters team since then, so I’m unsure if the logo was ever used.
I do receive a high volume of inquiries regarding logo designs, so it’s crucial for me to respond as quickly as possible. Nowadays, people generally have a short attention span and are not willing to wait, especially when they can use platforms like Fiverr for instant gratification. To maximize my efficiency in delivering logos, I need to stay on top of my game at all times.
However, for a good quality night sleep, I turn everything off between 10 PM and 7 AM when I go to sleep. During this time, people from different parts of the world—such as Japan, India, Australia, or the Americas—often try to contact me, typically asking how much I charge for my services or looking for an outstanding logo. Unfortunately, only a fraction of them reply after I respond. To give you an idea of this communication, I will copy and paste an example of someone who messaged me months ago and never followed up.
From : Antonio Araujo, sent on Tuesday January 28th at 23.36
Hello Christophe! How are you? I did a logo in the past with you. And I'd like to know how much are you charging for one now. Single word name. "Armorial"Best regards
Replied on January 29th 8.01 AM
Hi Antonio, Thank you for reaching out! I'm definitely interested in working on the logo for Armorial. Your project concept sounds intriguing, and I I would like first to know what it’s all about. Is it a band? Brand? Business? Gift for someone you want to impress ? Personal blog ? Regarding availability, I can start discussing ideas soon after today and I would be happy to provide pricing details once I have a clearer understanding of your vision. Let’s create something that truly embodies the spirit of your ventures. Best, Christophe
I never heard back from Antonio again. Has he checked his spam folder? My reply might have ended up there, which happens all the time. Has he looked in his outbox for any undelivered messages? How can I be sure that he has? Why isn't he responding? How many other designers has he contacted, even if his initial message sounded genuine and credible?
9. Do you think your commercial collaborations with non-band clients have provided you with new inspiration that you’ve been able to apply to your work with metal bands?
A: Collaborating with non-band clients has provided me with opportunities that I couldn't explore while working exclusively with metal bands. For instance, when designing logos for non-band clients, I can submit a wide variety of concepts. Each concept allows me to experiment with different finishes, whereas bands typically prefer one specific type of finish.
This flexibility is particularly beneficial for clothing companies, as well as blogs and small businesses, which are interested in creating various merchandisable items. These can include prints on garments and accessories like stickers and mugs, the latter of which has become quite popular.
10. Your current day job as a retail assistant—aside from the fact that you enjoy the work—do you also see it as a source of inspiration? It’s a job that requires constant interaction with people, and I imagine you’re skilled at drawing inspiration from these interactions, even if they don’t seem directly related to art on the surface.
A: My current day job as a retail assistant is an absolute necessity. My current job as a retail assistant is essential for me. It allows me to interact constantly with customers since I’m often at the front, welcoming people and helping them at the tills. This role will enable me to engage in discussions, especially about art. I've noticed that many young customers wear T-shirts featuring metal logos, and I sometimes ask, "Hey, I’m intrigued by the design on your shirt. It looks fascinating! Have you ever heard of the band?"
For example, if a customer is wearing a T-shirt with the logo of Explosicum, I can't help but mention that this band uses incredibly well-executed artwork reminiscent of Ed Repka, known for his work on early Death album covers. Many customers, especially the younger ones, typically respond with something like, "Well, it looks cool. I didn’t know what it was, but it looks great!"
These conversations allow me to subtly mention that I do similar work. Most of the time, they respond with, "Oh, that’s cool; thanks for sharing," and I can tell they're not particularly interested. However, occasionally, someone will express genuine curiosity and ask for a business card. That’s my chance to discreetly give them my card and possibly gain a few more followers.
Additionally, it provides an opportunity for me to mention any upcoming local shows. For instance, I have a busy summer ahead with a major opportunity to display my work in person, and I want to create as many opportunities as possible this week. I recently responded to an interview for a local news outlet called www.devonlive.com, which I hope will generate some buzz about my work.
11. If you were to describe your work philosophy in three keywords, what would they be? I really admire your work ethic—how you respect yourself above all else while also being willing to constantly challenge your comfort zone. For anyone looking to achieve success in their field of passion, your attitude is highly valuable.
A: Discover, create, and connect are the three keywords of my work philosophy. When clients approach me, I ask them questions about their vision and what they are looking for before discussing pricing and turnaround time. Understanding their vision helps inspire me.
It’s crucial that I feel inspired before I start working on a logo. Sometimes, clients rush, and I find myself pushed into a project where I don’t fit, which isn’t what I want to achieve. I appreciate clients who challenge my comfort zone, which helps me create things I never thought possible, regardless of pricing.
I believe that $200 or €200 is a fair price for a logo with numerous sketching options, a specific number of revisions, and final vectorised digital formats tailored to the client's needs. I often outsource work and collaborate with one or more graphic designers who assist in converting my hand-drawn sketches into digital files customised for the client. This collaboration allows me to book more clients and focus on the hand-drawing process. Meanwhile, graphic designers receive their fees for digital conversion, enabling me to explore new artistic avenues and create unique, human-generated artworks that satisfy both my clients' needs and my creative desires.
12. You mentioned that the logo for Murder Rape took eight years before they settled on the right design. Is eight years the longest creation cycle you’ve experienced? Under what circumstances are you willing to spend more time revising or perfecting a logo, and what are the circumstances that you prefer to giving up?
A: I created a logo for a band called Murder Rape in the 90s, which was still a time when I primarily used letters instead of emails. The issue was that the band leader, Agathodaimon, kept moving around and got into trouble with the authorities. Since letters typically took several weeks to reach the recipient, they eventually gave up on me and got their logo from a different artist.
Eight years is not the longest creation cycle I’ve experienced. In fact, there have been instances where it has taken even longer. For example, last year, while I was assisting with the Bucharest Death Fest, I received feedback on a sketch I sent to a client back in 2008. How strange is that? The client informed me that he had gone through numerous complications and was now working on the project independently. He explained that he was dealing with a bitter divorce and had encountered legal issues.
I've come to the conclusion that quitters are losers. They will never succeed. The only way to win is to keep trying and to keep failing as many times as necessary. In my case, nearly all dissatisfied clients end up giving up on me. Do you know how they do it? It's quite simple: they ghost me. They completely stop responding to my emails once they’ve had enough. They basically say nothing and disappear, only to reappear months later, launching a logo that is sometimes strikingly similar to the sketches I provided.
I dislike when this happens, but there's nothing I can do to stop it. Once clients send their deposit and I provide low-resolution sketches, I can’t prevent them from approaching other graphic designers to recreate something based on my sketches. I don’t mind spending more time revising or perfecting logos, as long as I have the space for it and can manage the assignment alongside new customers.
I believe in a multi-lane strategy. Imagine a broad highway: on one side, you have slow trucks and limited-speed vehicles, and on the other side, there’s a fast lane for emergencies or time-sensitive business trips. It’s similar to my work scenario. Overbooking can actually be beneficial because when a client gives up on me, I can immediately jump onto a new assignment. The key is to keep going—don’t wait. Maximize your efficiency and be productive.
13. How do you deal with setbacks in your creative process? Being asked by bands to revise your work repeatedly is apparently nothing new to you. You’ve also mentioned that anger is one of your sources of creativity. Does this sense of frustration also fuel the anger you need to keep creating?
A: Hey, you’ve hit the nail on the head—setbacks in my creative process always happen, and clients often ask me to revise my work repeatedly. This issue is nothing new to me. While it sometimes makes me feel angry inside, I’ve learned to keep that anger to myself. I prefer not to show it because, as the saying goes, "still waters run deep." Calm exteriors can be deceptive and possibly dangerous.
I adhere to this principle: never speak when angry and never make important decisions when frustrated. That's often when we make choices we later regret. However, I never ignore red flags. I notice them early on when I start working with clients—like how they communicate with me or their tendency to micromanage. It’s similar to how controlling partners can become controlling clients in business, and that dynamic can quickly become toxic.
Some clients may exhibit narcissistic behaviour or may act behind your back. For example, some clients completely stop responding to emails and go silent. You never know what they might do when you're not looking. As Putin does with the peace talks in Ukraine, he agrees to a ceasefire truce while simultaneously escalating his attacks on innocent Ukrainian civilians using drones, aerial-guided bombs, and missiles... I’ve encountered many people who agree to specific terms but behave differently when they think no one is watching. They can take an entirely unexpected direction.
This sense of frustration fuels my anger. For instance, when the war in Ukraine started, I created almost a thousand different Ukraine-themed artworks. I’ve organised them in a WeTransfer folder to share with you. These artworks represent various Ukrainian cities that have fallen under Russian fire. However, less than a third of the clients who initially contacted me responded. Similar to before, the majority have ghosted me or have reappeared online with designs that are strikingly similar to mine. I absolutely despise it when that happens, but I can do little to stop them.
14. What’s your take on AI-generated logos? If I had a band and a sufficient budget, I would definitely choose a human designer over AI to create a logo. But I’m not sure if younger, newer bands feel the same way.
A: AI-generated logos present a significant threat to genuine human artists. The main issue is that these designs can be created with little to no cost, allowing anyone to use AI tools to generate their logos. Consequently, many people are choosing AI-generated designs over the work of human designers, which diminishes the demand for skilled artists.
This trend is detrimental to the entire art sector, including the music industry, as it pushes real artists out of their professions. With rising living costs, it becomes increasingly difficult for them to support themselves, contributing to a growing homelessness crisis worldwide. Many younger and newer bands may prefer AI-generated music because it significantly reduces their expenses, leading them to choose AI tools over original, analogue sounds. This shift results in overly clinical and unnaturally polished productions, ultimately threatening the integrity of the entire industry.
I view AI as a destructive force that could lead to the decline of authentic art. This is why I maintain my job as a retail assistant, which, although simple and routine, provides me with a 12-hour/week contract and opportunities for overtime. When fewer clients come in, I am often offered extra shifts, allowing me to balance my work responsibilities.
I must admit that I genuinely enjoy my role as a retail assistant, primarily due to the diverse range of clients I interact with. I find that abundance often lies in the unexpected; sometimes, you can find exactly what you’re looking for without trying. I take it easy, follow the flow, and see where it leads me.
15. On your official website, your self-introduction is available in both English and Japanese. Do you have many Japanese clients now? I heard you’re also interested in kanji (Japanese characters). Have you used kanji in any of your logo designs? (If so, could you share an example?)
A: My brother Alex, 10 years younger than me – he will be 45 on the 28th of march this year, who lives in Japan, suggested that I introduce myself in both English and Japanese. He mentioned that many people admire my work and told me I have many fans in Japan. When Alex moved there, I discovered numerous books filled with different Kanji characters, particularly one at the Shotor Museum that features various Kabuki scenes, showcasing the rich history of Japan through multiple illustrations.
I have incorporated Kanji in my illustrations by adapting them using the Latin alphabet but designing them to resemble Kanji characters. One notable project I worked on was called Aethereal in Black. This project was created and conceived by the vocalist of an old heavy metal band from the USA called Attacker. Unfortunately, the project never came to fruition, and none of my designs were utilised, even though I was compensated fairly. I even received a copy of the first utterly sold-out Attacker album as a gift.
I wish the clothing company project had come to life; however, many promising projects I’ve been involved in have not materialised. Unfortunately, this pattern has dampened my excitement whenever I work on new projects. It feels disheartening, as I often see clients displaying high ambitions, but their plans collapse like a house of cards or a tower of mattresses at the slightest gust of wind. I have created many logos for projects that never came to fruition, and seeing that potential go unrealised isn't enjoyable.
16. What’s the best way to contact you if a band or a client is looking for a logo?
The best way to contact me is by emailing the address I am providing here, which I check most frequently: christophe.szpajdel@gmail.com.
When you inquire, I will ask you a few questions to help me better understand your project. This will enable me to provide a more accurate quote and turnaround time.
I need to know if your project is time-sensitive and whether you have a specific vision. Clear guidelines will influence the final price. Generally, more revisions will result in a higher cost. For example, minimal changes like altering an ending or shortening a spine are less expensive than fundamental modifications, such as adjusting letter spacing or symmetry, which may require a complete redesign and could be classified as a new project for pricing purposes.
Each client is unique, and I tailor my approach accordingly. Another critical factor is the speed of communication. Some clients request a logo within a week, but if feedback takes longer, it can delay the process. Additionally, requests for numerous rounds of revisions can further extend timelines. It’s essential to have realistic expectations.
I highly recommend following me on Facebook and Instagram at www.Facebook.com/christophe.szpajdel and www.instagram.com/christophe.szpajdel, respectively. However, please communicate through email rather than social media. I have noticed that messages on platforms like Facebook and Instagram can appear in my inbox much later than when they were sent. Message delivery often has a significant delay, which can lead to potential communication issues.
Please check your spam folder for any messages that may have ended up there to ensure you don't miss any important communication. Additionally, verify your outbox for any SMTP issues or undelivered messages that may have returned without your knowledge.
17. What's your impression on Chinese metal scene? Any bands that you like?
Some bands from China I wanted to mention: Here are a few bands from China that I want to mention:
**Ancestor (Beijing)** - This is the band I have known the longest, having read a captivating interview with them in the Polish magazine *Old School Metal Maniac*. Their music aligns closely with what I have been searching for in old-school thrash metal, with a slight death metal edge.
**Explosicum (Nanchang, Jiangxi Province)** - They play raging thrash metal with a preference for fast tempos that can lead to some crazy circle pits. Listening to them brings back memories of 1987 when I attended gigs by bands like S.O.D., Cryptic Slaughter, Dark Angel, Sodom, Sixty Nine (pre-Channel Zero), and Napalm Death while they were touring in Belgium. This band also features incredibly well-executed artwork that is reminiscent of Ed Repka, known for his work on the early Death album covers.
**Suffocated (窒息 Zhi Xi, Beijing)** - They deliver thrash metal with a heavy mid-tempo rhythm and vocals that remind me somewhat of Pantera. Suffocated has just released a new album and announced a 20th anniversary tour. It looks like an exciting time for them, and I’m sure they will gain many fans worldwide, especially since they performed at Wacken Open Air in 2012.
**Punisher (Jinzhou)** - After listening to their album "Battle of Grace," I find their sound to be a fusion of thrash metal with more melodic guitar riffs often found in classic heavy metal. I believe this band will appeal to classic heavy metal fans, in addition to followers of good old Metallica, Testament, Exodus, and Bay Area thrash from the '80s. The vocals remind me of a less aggressive Paul Baloff or Steve Souza from Exodus after a few cough drops. Overall, it's an excellent band that I genuinely enjoy, and I'm a huge fan of their logo—simple yet impactful.
**Tumour Boy (Beijing)** - I would describe their music as "effective speed/thrash metal with an edge," which I definitely prefer over Bay Area technical thrash. Their sound is appealing to fans of bands like Crisix, Gama Bomb, and others. I also want to highlight that they have a fantastic logo in the spirit of Toxic Holocaust or Nuclear Assault, and they deliver some impressive solos reminiscent of those found in the Brazilian album *Simoniacal*.
**Be Persecuted** - I designed their logo, which was my first experience working with a band from China. Their genre is completely different—depressive black metal. They are one of the few bands signed to a European label, No Colours.
18. What's your plan for the rest of this year? Any major announcements or exhibitions?
Last but not least: Some important announcements
May 11th, Chile Metalfest , Arena Movistar, Santiago Chile
May 22-25, Top 60 Masters, physical exhibition and awards curated by ArtTour International at Castello Estense/ Palazzo Diamanti/ Teatro Communale in Ferrara, Italy
June 7-16, Art Work Exeter event and group art exhibition with Leanne Elizabeth and Jack W Rudge at Tabac Taphouse, Exeter.
September 1-30: NightHunt, Collective Art Exhibition and Devon Open Studios event among many across the county, with May Allerfeldt, DreamBleedArts, Deathstyle Graphics, Terry Maughan, Ruth Sutherland, Helen Ely, Natalia Nowacka, Gosia Bilicka, Sam Goodwin, Christabelle Lewis, Amber Bluebird at Café Momus Manor Street Galleries, Plymouth
