28 years of decay
Rafael Elias’ musical journey began taking shape in the 1990s. A devoted heavy metal fan since age 12, his desire to form a band and create his own compositions intensified in 1998. That year, at age 17, discovering Napalm Death became a turning point, solidifying the sonic aesthetic he sought: the raw, abrasive force of grindcore. This impulse led to the creation of Atomic Bomb, a project conceived and executed through a fully intuitive, independent method — initially shaped by the lack of resources. Unable to acquire traditional musical instruments, form a band with real musicians, or rely on formal training, Rafael developed a unique and ingenious production process: vocals were recorded using simple, improvised microphones; the instrumental base was built from layered samples extracted directly from audio CDs of other bands; and the final assembly of all sonic layers was done manually in Audacity.
In this context, noise and technical imperfections were not flaws, but intrinsic elements that became aesthetic, language, and the project’s unique sonic identit.
Recordings under the names Atomic Bomb and Hellthoven continued until 2006. However, during this period, the project remained mostly personal and hermetic. Exposure to a small audience often resulted in criticism. Far from feeling discouraged, Rafael interpreted these reactions as validation: he had successfully subverted a style that, at the time, was celebrated by its followers as the ultimate rebellion against the sanitization and standardization of the music industry — grindcore.
A notable example of this subversion occurred in 1998 with the recording of the track “Loving After Death.” Defying the genre’s typical speed and aggression, Rafael used a slow, steady guttural vocal over a minimalist lyric repeating “I Love You, Only You.” The unusual backdrop for this performance was an acoustic ballad-style instrumental by a band called Serpent (which today leaves no digital trace despite dozens of homonyms), played only on acoustic guitar and without percussion — creating an absurd and satirical contrast.
A new version of this track, maintaining the same acoustic, percussion‑free atmosphere and guttural vocals, was re‑recorded in 2026 and included on the album Back To Roots.
The influence of Anal Cunt was crucial in shaping the entire subversive and sarcastic structure of Atomic Bomb. If Napalm Death provided the beating heart of the aggressive sound, Anal Cunt represented the brain behind the irreverent and conceptual posture. To “dress” this sonic and ideological body, Brujeria’s influence was fundamental — especially regarding the aesthetics of mystery and the intentional concealment of the members’ real identities. This inspiration motivated the iconic choice of three World War I soldiers wearing gas masks as the project’s initial visual identity.
What began as a rustic experiment, shaped by lack of resources and fueled by teenage passion for heavy metal and grindcore, evolved into a professionally organized music production structure. Maintaining the original DIY spirit and subversive sonic aesthetic, the process now carries technical rigor and institutional organization, prepared for global distribution in the contemporary digital landscape.
The man Behind The Mask
Rafael’s evolution as a music producer includes the complete formalization of his creative operation, ensuring that his work — even when extreme and experimental — aligns with professional market standards.
Operation through an active CNPJ, with activity in Music Production (CNAE 9001‑9/02), ensuring commercial compliance and professional management. For international visitors: In Brazil a CNPJ is the official registration number of a company, similar to a Business ID, Tax ID, EIN, or Company Number in other countries.
Catalog available on major streaming platforms and digital stores, distributed via Ditto Music and TuneCore, reaching markets such as the U.S., Norway, Australia, and more.
Member of ABRAMUS (Brazilian Association of Music and Arts) (Membership Code: 11035291), with global traceability through:IPI I0076018772 — CAE 1343163183 — IPN 11643350
