Behind The Artworks: IMPUREZA - Alcázares (2025)

When you mention Iron Maiden's "Powerslave," the connection to Impureza isn't immediately obvious. And yet, the cover art for "Powerslave" was a true visual starting point for "Alcázares." A deliberate nod.

We drew inspiration from its iconic colors: an intense, almost mystical blue of the sky, the warm hues of the walls—a blend of yellow and brown—characteristic of Spanish stone, and also the overwhelming light that lends a sacred and majestic dimension to the setting.

But beyond the colors, it was the composition of the artwork that captivated us.

On "Powerslave," the pyramid dominates everything. It's gigantic, almost overwhelming, and the tiny figures reinforce this feeling of immensity.

For "Alcázares," we chose the opposite approach. Rather than showcasing the Alcázar's exterior grandeur, we decided to place the listener inside. Into the intimacy of the place.

This choice is not insignificant; it reflects our music.

Flamenco is not just powerful and vibrant music; it also possesses emotional depth, introspection, and dramatic inner tension. We wanted the artwork to be experienced as a vibrant immersion where our world, situated between flamenco and metal, was seen as the calm before the storm!

Concluding a visual trilogy

It was essential for us to work with Johann Bodin again.

He had already brought to life the worlds of "La Iglesia del Odio" and "La Caída de Tonatiuh," so he had to conclude this trilogy with "Alcázares."

It was natural to close this circle with him, to maintain visual and symbolic consistency.

For the creation of the central character, the Djinn Conquistador, Johann directed us to Xavier Ribeiro, whose vision allowed us to bring a new dimension to the conquistador, who is a recurring figure in our imagery.

The Conquistador: A Time Traveler

On our two previous albums, the conquistador was already present in our artwork.

Like a timeless entity. A witness traversing the ages.

With "Alcázares," we wanted to push this concept even further.

The blue hole at the center of the artwork represents this space-time continuum.

A rift. An open world. A passage between eras.

It is through this portal that the character navigates through the major chapters of our history:

- The Spanish Inquisition (La Iglesia del Odio)

- The Conquest of the New World (La Caída de Tonatiuh)

- The Spanish Reconquista (Alcázares)

This vortex symbolizes historical continuity, transmission, but also the weight of the legacy of history and the fantastical and imaginative tales that we want to share with the listener.

The conquistador is no longer just a warrior: he becomes a time traveler linked to the memory of civilizations.

Thus, the circle is closed, and the trilogy finds its visual and symbolic conclusion.

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