Created by photographer Mark Sommerfeld, designer Kyle Berger, and creative director Phil Gibson, as told to Steffanee Wang
The FADER: How did you conceptualize the artwork for Getting Killed?
Phil Gibson: Ideation began the moment the album title was mentioned. It struck me immediately, and I loved it. Early conversations with Cameron and the band made it clear we were in a reflective space-the band almost psychically knew they were about to reach a major turning point. These talks revealed a central theme that resonated throughout: the feeling of confidently moving forward while closing a previous chapter. The exciting part was considering the perspective of the title ‘Getting Killed.’ Who or what is being killed? who or what is doing the killing? Are we taking a side, or leaving it open to interpretation?
We explored films featuring anti-heroes, where Death is personified, even romanticized. Everything from Goodfellas to The seventh Seal served as inspiration. We also looked at paintings by artists like Thomas Cole or Sascha Schneider, masters at capturing both the vibrancy of life and the depths of death. Personally, switching between early demos of “Trinidad” and Full of Hell’s “Trumpeting Ecstasy” fueled a lot of my initial ideas. Once that conceptual foundation was solid, we could freely experiment with ideas on set.
Mark Sommerfeld: One of the many sparks for me was a line in “Half Real” which refers
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