Bram Bruyneel is one of the most talented artists in Belgium at the moment. He already decorated many Zwotte Kring albums with beautifully drawn covers. He also supplied the logos for, among others, The Color of Rain and Meslamtaea. It was high time to check in with him and ask about the countless projects past and present, his motivations and the developments in his busy life.
1. Hey Bram. Thank you for making some time for us. You’ve been involved in various Zwotte Kring projects for quite some time now. How did that happen?
First and foremost, thanks for this conversation! If I go back in time and am not mistaken, it all started with Marquis, a project by Devi (Hisgen). I was asked to design the logo and cover artwork for the full length “Mitclan” in 2015. Man, how time flies! I have many fond memories of this design. This was also one of my first designs that I made in black ballpoint pen. After this, Devi came along with another project “Teitan” for which I was also allowed to come up with the logo.
Years later I came into contact with Floris for Schavot and we immediately had a very pleasant relationship and conversations about music, art and everyday things. Personally, I am a big Schavot fan, I think the debut album “Galgenbrok” is magical! He also challenged me to do a digital painting for his next album with pastel, inspired by the works of Anton Pieck. This is one trait of the Zwotte Kring, they challenge people in a very positive way to get the most out of it!
After a while designing for Schavot I also came into contact with Asgrauw and Void Wanderer Productions where I had the honor of doing a shirt design for both + the cover of their sampler CD, which also gets many spins here. The last projects for the Zwotte Kring were designs for Meslamtaea and The Color Of Rain. Bands that also give me enormous satisfaction and happiness to be allowed to design. Gerhans is another person who can bring out the best in someone! A true musical talent. I hope that this fruitful collaboration will continue for a long time!
2. You are of course proud of every artwork you deliver. Still, you’ll probably have a few favorites? Are there certain works of art that you are just a little extra proud of? Certain projects that are still fresh in your memory in terms of depth or communication?
There are indeed many designs that stick with me, but a number of them stand out with flying colours! Years ago I was able to make many designs for Bodyfarm. I then had a lot of contact with Thomas Wouters, who is unfortunately no longer with us. He had such an enormous passion for music and art. So my first shirt design I made for them (a reaper in medieval woodcut style) is very dear to me.
In addition, the designs I made for Fleshcrawl are also very special to me. Thanks to the Elpee Music Club in Deinze (with the always enthusiastic Katelijne!) I came into contact with a huge number of bands, including Sven Gross (r.i.p.) from Fleshcrawl. He also believed in my designs. The collaborations with Memoriam (Karl Willetts) and Milking The Goatmachine (Daniel Jakobi), still bring me enormous joy. These were childhood heroes for me and to see my drawings adorn their merchandise… that’s pretty cool! I also really appreciate the collaboration with labels such as Into It Records and Void Wanderer Productions!
3. How did you actually get into metal? What were your reasons to start using your talents in this culture? What is your own favorite style of music?
I got into the metal world thanks to my father. It was literally and figuratively instilled in me. On my tenth birthday he took me to a Kiss concert and I can still remember their show vividly! The cap from the show that I received then still hangs in my drawing room. After this we spent a lot of time in the Biebob and the Trix (formerly Hof Ter Loo). As a result, my interest quickly shifted to black and death metal. Immortal, Marduk, Limbonic Art all had a very big impact on me. The Xmass festivals etc. became an annual tradition. Here I got to know many bands (Deicide, Bal – Sagoth, Aborted, Dying Fetus…)
What especially appealed to me about these genres was their artwork/merchandise… For me it was fantastic to go to school with a Bloodthirst long sleeve from Cannibal Corpse or with the Panzer Division shirt from Marduk. Of course, all my school books were decorated with album artwork and logos of all my favorite bands. The teachers at the time did not always like them. My preference for old medieval designs developed very quickly.
I ended up in the “design world” very spontaneously. A local band liked my drawings and thought they could use them for our shirts. After this the ball slowly started rolling to where I am now. I have an extremely varied taste in music genres. If I’m in the mood for metal, I’ll primarily go for black and death metal. I also really enjoy listening to prog, heavy metal, etc., but the poetic music of Frank Boeijen can also move me. The people who know me very well know that I also have a huge guilty pleasure and that is Taylor Swift… now I imagine that a lot of readers will frown their eyebrows but I can’t help it, my playlists are also very varied. From “Hammer Smashed Face” to “Shake it Off”. The confusion in the eyes of the people around me always makes me laugh.
4. In an earlier interview with The Color of Rain’s Gerhans Meulenbeld we could read that he sees you as a kind of ‘secret’ fourth band member. Does it feel that way for you too? How do you try to internalize the identity of a band you work for?
It certainly feels that way! The collaboration with TCOR is very precise. Personally, I am not the fastest draftsman/painter, but we keep each other informed of every step. From sketches to updates and finished product. I really feel part of the band this way.
As I said before: I fully appreciate the constant challenge to go further creatively and to experiment with new techniques. First of all, I have to connect with the music and the idea behind the band (theme, lyrics, etc.). Only then can I convert those ideas into drawings and paintings. The band also gets to see my vision in this way. The merging of different opinions then forms the identity of the band.
5. You have delivered colorful covers for both Schavot and The Color of Rain. A striking thing because most of your work is fairly monochrome. How did that happen?
That colorful collaboration came about because Floris saw something in me that I myself didn’t know was present yet. My preference for dark, black and monochrome works will always be there, but it is very nice that I can now turn to other mediums to put my vision and thoughts on canvas. I’ll be honest, the color designs are in collaboration with my lovely wife. Because I am mainly used to thinking in monochrome designs, I sometimes have difficulty translating my vision into color. If I get stuck with that, I ask my wife. She then gives me instructions about her vision of how she would approach it.
This has now resulted in some colorful designs, such as bringing life to the fire of the Schavot funeral pyre and the color patterns on the back cover of Fleddy Melculy. So expect even more colorful designs in the future!
6. Can you tell us something about some projects you are currently working on? Are there bands that you have a longer agreement with for a series of albums or do you work one album at a time?
This is often viewed album by album, but over the years I have built up very nice contacts with people and bands who often return to receive a design from me which is an extremely good feeling. I am currently working on some very nice assignments for some local and international bands, not all names can be mentioned of course. Bands I can give you are: Wallfahrer and Lay Down Rotten. As always: “All will be revealed in due time!”
7. You have recently also started working in the tattoo industry. How did you end up there? What style can we expect your ink to be?
I also fell into this very spontaneously. This is thanks to my in-laws. My father-in-law wanted an extension of an original tattoo of his so I made a sketch/design for that (like a good son-in-law does who can draw haha). They then ended up at Cee’s Pendulum Swing Tattoo. Cedric is an artist par excellence and a true Jedi master with ink. During his tattoo appointment, the subject of a ‘tattoo apprentice’ came up and that Cedric would like to have one in the future. My mother-in-law let me know immediately and believed this was something for me. I saw this as a golden opportunity and sent him a message that evening to introduce myself.
There was an immediate friendly click that over the months grew into a professional mindset to convert my drawing skills into tattoos. I am currently still a student aka padawan (my nickname in the shop) who eagerly and enthusiastically accepts all opportunities. Regarding the style; you can expect a continuation of my dark, obscure medieval woodcut drawings that I will translate into tattoos with a twist that is my own.
8. You work a lot with both Dutch and Belgian bands. Do you notice a difference between the northern and southern neighbors in terms of how metal lives? Does Belgium also have collectives such as the Zwotte Kring? Which bands from Belgium would you recommend when it comes to the heavier styles?
Personally, I don’t notice many differences between the Dutch and Belgian bands that I design for, although Dutch bands are often a bit more direct in their approach. Something that I certainly do not experience as negative. If the passion is there and I notice that there is a gigantic driving force behind the band and I fully agree with the theme and story behind the music, then this is simply great.
I have never thought about whether there are collectives present or consciously looked for Belgian collectives, but I do know of one, namely The Nox Entity with bands such as: Rituals Of The Dead Hand, Entartung, Lhaäd, Wolven and Nox. Bands that I definitely recommend checking out!
9. Thank you so much for your time. We hope to enjoy your work and collaboration for a long time to come!
This is very much appreciated! Thank you also for your interest and very nice cooperation!
Interview: Gerhans
