route by reading people like Gurdjieff, then [Colin] Wilson and then on to Lethbridge." Cope coined the term "megalithomania" for his new found interests, and wrote about it in the liner notes, where he describes the album as "concerning the Kelt and the Kraut, the cross and the serpent; and various related female issues that the mother would wish us to know." The album also explores parenthood, as Cope had recently become a father. The album name, a pun of Jehovah and "overkill", was described by journalist Andy Gill as perhaps referring "to the Judaeo-Christian repression of our natural pagan energies and inclinations; or perhaps to the kicking Cope hands out here to the deity." The album cover depicts the Callanish Stones on the Isle of Lewis, a Neolithic site with a cruciform layout that predates Christ by at least 2,000 years. Cope had been photographed lying next to the monument on the cover of the Peggy Suicide single "Head"; the sleeve of Jehovahkill, in contrast, uses a golden aerial plan of the monument on a vivid blue background. In his book How the Neolithics Influenced Rock 'n' Roll, Andrew Johnstone called the cover design a "bold iconographic approach," writing that "[t]he isolation of the monument's structure emphasises its completeness and the dramatic statement the builders made far greater than a photograph would. The monument moves away from being a stone structure, to that of being a motif or logo." In the liner notes is a depiction of the Neolithic henge monument and stone circles at Avebury, Wiltshire, built some 5,000 years ago, with accompanying text written by Cope, who invited listeners to visit the monument. Cope had photographed Avebury for the sleeve of Peggy Suicide, and finding the monument's "pull" to be so great, he moved to the village of Avebury with his family in early 1992. Cope provided commentary on various other ancient megalithic sites and temples, alongside some of his own attendant poetry, throughout the rest of the booklet. "Akhenaten" has been described as "an investigation on Society's obsession with Christ," while "Fear Loves This Place" has been interpreted by critic Dave Morrison as "a tale of domestic brutality." Asked by Kevin Jackson of The Independent if he thought the album's themes would alienate fans, Cope replied: "Oh, loads, but I never started out my career with any intention of tugging along all of them, and I've