Jehovahkill is the eighth album by Julian Cope, released in 1992. After the critical success of Peggy Suicide (1991), Cope's idea for Jehovakill was to incorporate a krautrock attitude into his music. He began recording the album with musicians Rooster Cosby and Donald Ross Skinner, while co-producing it with the latter. The sessions yielded what Cope considered to be his most sonically experimental material to date. Originally titling the record Julian H. Cope, he sent an eleven track version to Island Records, who initially rejected its release, but gave Cope extra recording sessions for the album. During the extra sessions, in which six extra songs were recorded, the album became harder and was retitled Jehovahkill. Inspired by prehistoric monuments, the album features ancient, pre-Christian heathen and pagan themes, while commenting on "the destructiveness of mainstream religion." The theme spread to the packaging, with the cover depicting the Callanish Stones, a site with a cruciform layout that predates Christ by at least 2,000 years. Musically, the album combines krautrock with a dark folk sound. Upon release, it reached number 20 on the UK Albums Chart, although Island Records dropped him soon after its release, leading to outrage in the music press. The album proved to be one of Cope's biggest critical successes. Select later named it the 36th best album of the 1990s, and NME named it the 95th greatest British album ever. A deluxe edition was released in 2006. Recording and development Julian Cope's seventh album and fifth album for Island Records, Peggy Suicide (1991), concerned itself with environmental issues, and was a critical comeback for Cope, if not quite a commercial one. During the world tour in promotion of Peggy Suicide, Julian Cope, his guitarist, drummer and saxophonist Rooster Cosby and guitar technician Rizla Deutsch, all of whom listened to krautrock in the early 1970s, had debated "the psychie mix that had created krautrock's singular take on Western music," and reached the conclusion that they could distill "the krautrock psyche" into a complete attitude which they would then apply to Cope's new album, much like that had with the R&B and Detroit soul styles on Peggy Suicide. After the world tour in promotion of Peggy Suicide ended in August 1991, Julian Cope entered the studio to record his next album with Cosby, Deutsch and keyboardist Donald Ross Skinner, with Cope and Skinner co-producing the album. Cope biographer Mick Houghton