H.R. Giger - Vinyl Album Cover Gallery

Steve Stevens' "Atomic Playboy" LP, renowned for its musical prowess, uniquely merges with Swiss artist H.R. Giger's surrealism, famed for the Alien series. This collaborative masterpiece delves into the creation history, showcasing the meticulous fusion of Stevens' guitar virtuosity and Giger's biomechanical aesthetics. The album cover, a visual feast, reflects their shared commitment to pushing artistic boundaries, resulting in a timeless blend of music and surreal artistry.

  "Brain Salad Surgery" is the fourth studio album by progressive rock band Emerson, Lake & Palmer, released in 1973 and the first under their Manticore Records imprint. It fuses rock and classical themes. Lyrics were co-written by Greg Lake with fellow ex-King Crimson member (and, beginning with this album, frequent ELP collaborator) Peter Sinfield. Cover art is by H. R. Giger.

Blondie's 1981 7" vinyl single, "Chrome" b/w "The Jam Was Moving," epitomizes the band's musical evolution. Released on February 20, 1981, this iconic record reflects the dynamic transition from punk to new wave. With pulsating rhythms and Debbie Harry's captivating vocals, the single, encased in a collectible picture sleeve, remains a timeless symbol of Blondie's influence on fashion and music during that era.

Danzig's third album, "How The Gods Kill" (1992), is a milestone in dark rock. Released in July, it showcases Glenn Danzig's powerful vocals and introspective lyrics. Departing from blues influences, the album embraces a haunting, atmospheric sound. Songs like the title track and "Dirty Black Summer" exemplify its brooding intensity. With critical acclaim, it stands as a defining work in Danzig's discography, leaving a lasting impact on dark rock.

The Dead Kennedys' 1985 album "Frankenchrist" is a landmark in music history, not just for its punk rock sound but for its controversial cover art by H.R. Giger. Featuring the explicit "Penis Landscape," the album triggered legal battles, testing the limits of artistic freedom. Despite facing charges of obscenity, the band was acquitted, but the fallout contributed to their eventual dissolution in 1986. "Frankenchrist" remains a pivotal moment, symbolizing the clash between artistic expression and societal norms.

"Freiheit Für Die Sklaven" (1987) by Pankow, a groundbreaking album, embodies the spirit of artistic rebellion in the late '80s. This musical masterpiece, intricately blending synth-pop and post-punk, reflects the socio-political climate of its time. Pankow's distinctive sound and evocative lyrics contribute to the album's enduring impact, marking a chapter in music history where freedom and creativity converged with powerful resonance.

"Atrocity's 1990 album 'Hallucinations' is a sonic journey into extreme metal territory. Released during the rise of death metal, the album showcases Atrocity's innovative blend of death and industrial metal. With intense guitar riffs and dark atmospheres, 'Hallucinations' solidified the band's place in the metal scene, offering a unique and influential contribution to the genre's evolution during the early '90s."

Carcass's "Heartwork" (1993) stands as a landmark in extreme metal, seamlessly merging melody with brutality. Released during the death metal genre's evolution, the album showcased technical prowess and lyrical depth. Pioneering the melodic death metal subgenre, "Heartwork" remains a masterpiece, influencing countless bands. Its creation marked a pivotal moment in Carcass's career, solidifying their status as genre innovators.

"Hide Your Face" (1994), the debut solo album by Hide, the enigmatic guitarist of X Japan, showcases his diverse musical talents. Blending rock, pop, and electronic elements, the album captures Hide's dynamic creativity. Released during the height of X Japan's success, it reveals a different facet of Hide's artistry. "Hide Your Face" is a compelling solo venture that resonates with the era's experimental spirit.

"Johanni Wants Three Dead" (1980) by Oser, Weber, Bürder is a captivating literary work delving into intricate narratives. This collaborative effort explores themes of intrigue and suspense, presenting a gripping tale centered around Johanni's quest for retribution. Released in 1980, the book resonates with the era's literary experimentation, offering readers a unique blend of storytelling and thematic richness.

Debbie Harry's "KooKoo" (1981) is a groundbreaking album reflecting the vibrant eclecticism of the post-punk era. Collaborating with visual artist H.R. Giger, known for his work on "Alien," Harry crafted a daring fusion of rock, new wave, and electronic elements. "KooKoo" defies convention, both sonically and visually, making it a testament to Harry's fearless exploration of artistic boundaries

"Mumien Aka Mummies" (1974) by Floh De Cologne is a groundbreaking musical exploration. This avant-garde German album defies conventional genres, blending satire, political commentary, and experimental sounds. Released during the politically charged 1970s, it remains a cultural relic, reflecting the era's social upheavals. Floh De Cologne's innovative approach and bold lyrics make "Mumien Aka Mummies" a testament to the band's artistic audacity.

"Pictures" (1977) by Island is a musical journey through progressive rock excellence. This album, released in the mid-'70s, showcases the band's virtuosity and creativity. With intricate compositions and atmospheric soundscapes, "Pictures" is a sonic masterpiece that encapsulates the era's progressive rock movement. Island's fusion of technical brilliance and emotive storytelling makes this album a timeless gem in the landscape of progressive music.

"Sacrosanct - Recesses for the Depraved" (1991), an HR Giger 12" vinyl LP album, is a symbiosis of dark art and metal. The collaboration between the band Sacrosanct and the iconic artist HR Giger results in a visual and auditory journey. Released in 1991, this album's marriage of Giger's surreal visuals with Sacrosanct's metal prowess creates a captivating experience, resonating with aficionados of both music and art.

"Somewhere In Nowhere (Birthmachine)" (1999) by Dr Death is a sonic odyssey through industrial and electronic realms. This CD immerses listeners in a dystopian soundscape, blending dark atmospheres with experimental rhythms. Released in 1999, it reflects the convergence of industrial music's evolution. Dr Death's "Somewhere In Nowhere" stands as a testament to the era's avant-garde experimentation, pushing boundaries and embracing the futuristic sounds of the late '90s.

"The Jam Was Moving" (1981) by Debbie Harry is a dynamic fusion of pop and rock, showcasing the Blondie frontwoman's versatile vocals. Released during the new wave era, the album encapsulates Harry's bold experimentation with electronic elements and infectious melodies. With a blend of edgy lyrics and danceable beats, "The Jam Was Moving" is a testament to Debbie Harry's enduring influence on the pop music landscape. Show Details

Celtic Frost's "To Mega Therion" (1985) is a seminal work in extreme metal, epitomizing the burgeoning black and death metal genres. Spearheaded by Swiss musicians Tom G. Warrior and Martin Ain, the album's dark, atmospheric compositions and Wagnerian influences redefine metal's sonic landscape. "To Mega Therion" remains a timeless masterpiece, influencing countless bands and solidifying Celtic Frost's legendary status in the metal pantheon. Show Details

"Walpurgis" (1969) by The Shive, a German band, epitomizes the psychedelic rock movement of the late '60s. Released against the backdrop of countercultural fervor, the album is a kaleidoscope of experimental sounds and mind-expanding lyrics. The Shive's "Walpurgis" captures the essence of a transformative musical era, offering a sonic journey that reflects the spirit of exploration and creativity of the late 1960s German rock scene.