As you know already, I was listening to Death Metal all the time way back from 1989 to about 1993. These were the “old days” (at least for me), the days when some of the best music was created by bands that had lots of ambition and uniqueness. Sure, as it is with every musical style that becomes more and more successful, lots of crappy bands came up, trying to be a part of an underground music scene that they didn’t understand at all. But that’s another story…

Some of my favourite albums were recorded during that period of time, for example the first two Entombed albums, Morbid Angel’s famous “Altars of madness” LP, Dismember’s debut release and lots more. You could buy almost any album that came out during that time only because of the logo of the band or because the cover art looked cool. One of the few artists (maybe the only one) who created some really unique art completely different from all the usual blood and gore stuff (that was funny at times, too, but became boring soon) was Dan Seagrave. Everyone into Death Metal knows this guy, I have no doubt about that. Without his art the albums I mentioned above wouldn’t have been what they are: Masterpieces. And that’s also the best description for his art in my eyes: Each picture is a masterpiece. Dan Seagrave developed a unique style that you could recognize among every other cover. I loved and still love his art. The last time I saw a picture by him was around 1994 or so, maybe even a bit earlier. Then one day in the year 2000 I stumbled upon his website and got his e-mail address. In the ensuing conversation I asked him if he would do an interview for my site. And that’s what he did. Although it took a while to answer the 24 (!) questions I sent him, here it is, an interview with the best cover artist ever (well, at least that’s my opinion). Thanks Dan for taking the time answering all of the questions, you rule!

As you told me in your last mail, you are currently in Canada. I remember way back around 1992 you had spend some time in Canada, too. Do you go there for inspiration or what is the purpose of those trips? Do you have kind of second home in Canada?

Over the years I’ve simply made some good connections here, the city is so different to where I'm from in England so I suppose that was the initial attraction, but I prefer the life in Europe. Given the ultimatum I might choose to live in Spain, but it’s good to get contrast in your life, Toronto to me is like the pinnacle of modern living as anyone whose been here would know, and England my country of origin really isn't.

The last time I saw a cover artwork from you was around 1994, this one being the Pestilence compilation cover. Why did you take such a long break and what did you do in the meantime? I didn't really hear much about you for like six years now...

The album cover work really dried up, partially because the market had been over saturated with my work (around 40 covers), and so bands were looking for something different. I was also becoming drained doing this kind of work all the time more in a mental sense because I wanted to push things in a different direction and found that I could not in the current state of things at the time. So in 1995 I came back to Toronto and started painting whatever I wanted, which in a way was really difficult because I was so used to producing art in a certain kind of way that I felt without a commission to drive the work to its completion, that I might never finish another painting. So I experimented for a while and then got back into the rhythm of what I wanted to do for myself. In 1997 I went back to England and started working on ideas for the “Temple” series.

Did you keep an eye on the death metal scene during these years (1994 - 2000) and what do you think about that scene today? Where do you see the differences compared to the "old days"?

Well the music scene now is a very defined concept with a defined market, just as punk had become and still is. It seems to be moving into that very accepted realm, whereas ten years ago death metal was definitely more of an underground thing (right – Stefan).

In 1992 you were talking in an interview about plans concerning the planned release of a book with your artwork. Did that ever happen?

I have 5 paintings published in a book called “The encyclopedia of fantasy and science fiction art techniques” by Titan Books. I had approached Morpheus International a couple of years ago but they were not interested (obviously they didn’t know what they were doing to the hungry fans of your art – Stefan). I still see a book coming together at some point in the future but I want to do it right not just a cash in.

Also in 1992 you said that your best work so far would be the cover art for Suffocation's "Effigy of the forgotten" album. Do you still consider that one as your best work or is there any other picture you prefer at the moment?

That painting is an obsessive creation, I don't think it made a good album cover in retrospect. Because of the intense amount of detail it should be viewed on a larger scale, in the next year or so I may release this one and a couple of other as limited edition prints, most likely Morbid Angel and the “Clandestine” (Entombed’s second album – Stefan) album covers as they seem to be the most appreciated. As for my favorite work, it’s always what you’re working on. Right now I'm starting the second editions to the “Temple” series, and these paintings really are special (even if I had to say so myself) because they are the epitome of what I'm capable of creating at this point, in the ideas and the very careful execution of the work, I'm spending around 4 solid months on each work 8 hours a day (wow – Stefan).

How did you get involved in creating the cover artwork for the new Morbid Angel album? I was very enthusiastic about that when I first heard it, because for me death metal kind of started with the release of "Altars of madness" in 1989 and that's also the time I first heard about a guy called Dan Seagrave ;-)

Yes, well, Rob Harris at Earache Records got in touch with me via my web site and asked if I'd be interested in doing the new cover. I thought it was a good idea to do it because it reflects the beginnings of the whole scene and my part within the that scene and it was good fun coming up with the concept. I think it works really well.

When I saw a "raw version" of that new Morbid Angel cover I was reminded to Giger when it comes to the colour of that picture. Would you agree? Do you like Giger?

I do appreciate Giger’s work. I don't think there is too much comparison to our work though in terms of style or execution of ideas but we both work from our imagination, like all artists in that fantastical realm because it' s the safest place to be.

So will you do more cover artwork in the future again?

Not many people in this genre regard paying 1000 pounds for cover art to be a worthy cause, so it all depends on whom I'm working for and where their interests lie.

Who and what was (and still is) influential to you regarding your art? Did these influences change over the years.

Many things influence my art. I love architecture and nature, my influences are usually not direct from what's going on around me, it’s like things go through a filtration process in my mind an then pop up later as part of an idea, in my line of work, being introverted usually helps in getting the job done, having the ability to faze out of the world for a while and focus on that painting. Even if every one else is out there having a great time.

I think you pretty soon found your own unique style, one could unmistakably see that this picture was created by Dan Seagrave. But there were also some people who tried to copy your style (but they never succeeded in any way). What did you think about people being influenced by your art?

To be honest I have not seen any art out there which I would consider to be influenced by my work, but if there is I would feel quite honored.

How did you get the inspiration for the covers you did back then, did the bands come up to you with an idea or with the title of the record or did you make it up all on your own?

Most of the covers have been my ideas based on nothing more than a title. A lot of the art was ideas I'd had for years and then became refined for those commissions. Take “Testimony of the ancients” (Pestilence). This was an idea I had when I was 14 years old (I'm 30 now), originally the Centralobe. “Sphere” was more like an organic orb floating above a rotting tree root within that well like structure, then it became re-developed for the album design.

How did you make a living during the days you didn't do that much cover artwork (1994 - 2000)?

I've produced designs and large mural paintings in the States and Canada and U.K. These pay very well. I also did some original art commissions, but there is actually a large tin of money buried in a forest some where in Nottingham (my home town). Whenever I get low I go back for a top up! (Where did you say was the exact location of that tin? – Stefan)

You also did some covers for magazines, how do you decide for what magazine you do a cover and for which you don't?

I only did a couple of covers for S.O.D. mag but that guy recently ripped me off so that's an end to that, I don't think I'll be releasing any more art for magazine covers unless they are reputable.

Some time ago in another interview I did with you for a fanzine you told me that you would like to do some special effects work for a movie, did that ever come true?

It is one of my goals to be a part of a film production on a design level creating concepts, but ultimately I am intending to make “Temple” into a motion picture, the art is linked in a mysterious way which will only make sense when they are all assembled with the connecting storyboards. The script is a ways from being finished, but the idea is in there and in motion currently in the form of these posters.

In 1998 you painted an adaptation of characters that you created for Lanwmower Deth before. Why did you do that, was it because that's how it all started for you?

I just like those characters, the flying killer cobs, which I re-named (cops). They're obnoxious threatening but funny. I would also like to make them into an animated film but I don't think they are quite ready yet.

What's up with the Lawnmower Deth guys nowadays? Are you still in touch with them? I really loved their second album "Ooh crikey, it's Lawnmower Deth”, one of my all time faves…

They all still live around Nottingham, the singer got married, the other guys I see around occasionally when I'm back home usually in the pub. The band is long gone, they're just getting on with life after Lawnmower Deth!

Are you still in touch with some people from that "old school" Death Metal scene (bands from 1989 to 1993), especially with those you did covers for?

I was never really in touch with any of the bands. My role was quite isolated from them simply producing art and delivering the transparencies to the record company. In that way I never felt like I was part of the music scene because none of the people I hung out with were, and I worked at home alone so the attention was never focused on me as a member of the music genre.

Which "new" Death Metal cover artists do you like? Do you keep an eye on these people and what do you think about Kristian Whalin?

I have not seen any covers that stand out much, the computer stuff is kind of boring and generic, and the painted stuff seems a bit corny. I haven't seen any Kristian Whalin art. I’ll keep a look out though.

Which music are you listening to these days? I remember some years ago you listened to a lot of different stuff...

Yes, I like all kinds of music from experimental to heavy. I saw Beck this year in Toronto and the best show I saw was in New York city in June at the Bowery Ballroom, the Super Fury animals. It sounds silly but the show was incredible.

What can you tell me about your new project "Temple"?

“Temple” is my personal project which delves into the depths of what it is to live in a natural world filled with unnatural things. Mankind's need to harness and control our environment with technology machines, systems and order put in place to make our concept of the world tolerable and acceptable, but when you see Concorde go down in flames you're reminded of our fallibility that we’re not untouchable beings. But we’re all hidden inside these kinds of objects not keen on facing the elements. “Temple” deals with this in a fantastical way. It’s like an organic resemblance of city elements and things that relate to that place on a functional level, but this city and all the things within it are totally venerable to the elements. “Fall From Grace” is a favorite where we see these enormous hulking aircraft falling from the sky like autumn leaves. A figure in a shirt and tie is late for his meeting. Desperate he ponders at the aircraft hatch to consider jumping from the plane before the impending impact. “Terminal”: We view these slug like metro trains endlessly coiling around the decrepit infrastructure delivering their occupants to an uncertain destiny. “Delusions of Grandeur”: The first design of the series shows the surrounding architecture peeling away like rotting fruit, while a figure remains deathly still in a window. They are organic in their impimentation of design and style, throughout all the works I am really creating a world here with rules that will eventually be broken by the decisive hand of nature. In the story of “Temple” this becomes firstly evident when a mysterious disease begins to infect everything. What nobody realizes is that what people believe is an uncontrollable virus is actually something far worse with implications far beyond their darkest imagination. That's all I can tell you about that for now because the visuals are just as important in the telling of this story and the paintings also hold a clue, if people manage to get a hold of the current 3 out there they will notice that when they are put together side by side, upside down in whatever combination the viewer wants that they actually begin to merge in a symbiotic way. They are published by Swiss company Wizard & Genius..

Take a look at the two excerpts (below) from "Temple" Dan sent me (thanks!!) and you will undoubtedly agree with me that these paintings and their creator are ingenious and not from this earth.

So Dan, what are your future plans?

Obviously “Temple” is the most time consuming thing. Id like to start selling prints and posters on the net and also some original work. I'm thinking about doing some smaller abstract pieces of “Faces”, these I would like to make available on a gallery web site, probably my own.

Do you see the internet as a medium to spread your artwork or do you think that art can only receive its full effect in printed form?

I think the net is the way to go for all artists. If you can sell art to someone on the other side of the world then it serves an invaluable purpose.

At the end of this interview I wanna ask you about a rumour Nicke from Entombed told me some years ago but that was never quite revealed: Did you really live with Indians for some time and why did you do that? How was this experience for you?

Yes in 1990 ,when I was 19 I came to Canada for the first time to do a volunteer work program for2 months. This consisted of renovating log cabins on an Indian reservation called Slate Falls in Ontario. I had to fly in a 2 seater pontoon plane to the site about 100 miles from the nearest road. I was at this particular site for 4 weeks, but I was removed following a bizarre chain of events, consisting of a murder, a fire, a photograph of one of my paintings, a misunderstanding , and a robbery. It's a complicated thing to explain (indeed – Stefan), so I'll save it for another time; just in case you’re wondering the person who got killed happened before my arrival (that’s lame, haha – Stefan).

Ok, I guess that's it. It’s been an honour to include this interview on my site, thanks again!

Thanks a lot Stefan, it’s been a blast!