Behind The Artworks: Apocryphal Wound - Mors Advenit Primis Diluculis In Tergo Equi Maledicti (2025)

The cover art for Mors Advenit Primis Diluculis In Tergo Equi Maledicti, crafted by the exceptional hand of Márcio Blasphemator, is far more than a visual representation; it is a revelation, a gate into the doctrinal heart of Apocryphal Wound.

Rendered in stark monochrome pointillism, the artwork evokes the inevitability of death not as an ending, but as a cursed beginning. The central figure, Death incarnate astride a spectral horse, emerges not from silence but from cosmic collapse. The veiled rider is neither divine nor demonic, but an instrument of collapse riding through the boundaries of reason and spirit, wrapped in tendrils of sacred decay. It mirrors the album's overarching theme: death as transcendence through suffering, despair as the sword that rends the veil of illusion.

This image is deeply entwined with the lyrical core of the record. From the flaming sword of the vengeful angel to the quantum cemetery where metaphysics and mourning intersect, the artwork becomes a frozen moment in that same metaphysical maelstrom. The celestial horse, an allusion to both biblical apocalyptica and the womb of cosmic punishment, charges forth at the first light of dawn, delivering the title's fatal prophecy: “Death arrives at first light, upon the back of the cursed steed.”

The dense textures and celestial tumult surrounding the figure echo the sonic layers of the album: brutally distorted guitars, dissonant atmospheres, ritualistic vocals in liturgical Latin. It is the visual equivalent of a spiritual collapse, a divine autopsy performed in chiaroscuro.

In essence, Márcio Blasphemator’s vision does not merely illustrate the music; it is part of the liturgy. It is the sermon spoken in the shadows. A reminder that Apocryphal Wound is not just a musical project, it is a ceremony of ruin. A theological wound. A communion with the void.