At the center of Graham Samuels’s symmetrical cover art is a tied-up woman who’s being burnt at the stake, suffering with lips and eyes firmly closed. She’s surrounded by floating grabbing hands, antlers, smashed TV sets, bombs, and a machine gun. In the background, we see dozens of other women, some depicted as hovering heads staring at the viewer, and others floating up and disappearing into the night sky, leaving the disturbing scene behind. On his website, Alkberg mentions that masculinity is an important theme of the album: “The whole disgusting masculinity that permeates and poisons this shitty society at the expense of women and children in particular.”
For the typography, cover designer Eva Wilsson employs a combination that’s similar to the one seen on the book jacket of Pola Oloixarac’s novel Mona: Eckmannpsych (2018) is used for the title, with the name shown below in an italic typeface with similar qualities, at a smaller size and brought to the same width. In this case, the second typeface is Lisbeth Display (2017). It was designed by Louisa Fröhlich as an extreme variation of and single-style companion to her all-italic Lisbeth family. Here it echoes the pronounced horizontal contrast from the line above. While the amorphous Eckmannpsych looks as if it was made from microwaved plastic, Lisbeth Display’s letterforms with the pinched stems rather resemble twisted strips of paper.