Important to vinyl presentation, of course, is the visual appeal and Venomous Maximus have established a strong identity thanks to the artwork of Daniel K. Miller. There are no credits on the packaging for The Mission and I am making an assumption that Miller, who is credited for both bookending bits of the catalogue, was responsible for this mad monk masterpiece as well.
Cutthroat Records, feature these labels, a nice touch that didn't carry over to Beg Upon the Light.
a pink and purple split variation available. As I am a sucker for vinyl that complements its packaging, I definitely would have opted for this version if I had the purchase to make over again.
If Give Up the Witch and The Mission were beautifully minimal masterpieces, Beg Upon the Light gets it all absolutely right. An opaque, bone-marrow red with corpuscular traces of white, black and yellow, the vinyl is rich and warm and, to top it off, is presented in a lush double-gatefold jacket absolutely adorned with detail. A vertically-oriented heaven- and earth-scape rendered in blues, grays and chartreuse gives the listener an abundance of art to pore over, adding in nice touches such as the previously Given-Up Witch amid the throng. The interior's cathedral spires reach skyward to lyric content and a spectacular two-sided insert provides the record's credits as well as another great photo of the band. Beg Upon the Light comes from Occulture Records (on whom I can find absolutely nothing - and wonder perhaps if this isn't the band's own creation).
The band's shop site offers no detail re: pressing quantities and colors for The Mission nor Beg Upon the Light and I wonder if they may not be comprised of random mixes, which some pressing plants will offer with no premium charged over black vinyl. Regardless, I love my instant Venomous Maximus collection and have been enjoying the records themselves all week and, even more, the music contained within.