28 years of decay
In 1998, Atomic Bomb emerged without the mastery of traditional instruments. Rafael Marques Elias, at seventeen years old, developed the "Cut, Paste, and Distort" method, converting hardware limitations into an ontological virtue. The band's image is a real photo from World War II, extracted from an encyclopedia sold in CD format. The Atomic Bomb logo was made in Photoshop. At the end of the first song recorded in '98—which bears the band's name, Atomic Bomb—young Rafael sang: "Atomic Bomb Will Never End." It was a memory of a snippet from the song Marujo by Raimundos, a band he really liked at the time. Of course, everyone in the rock/metal scene back then said Atomic Bomb was shit. They told Rafael to give up on this career and do something else because it was "complete garbage."
Time passed, and the recordings were preserved through CDs and later flash drives. In the early 2000s, more songs were recorded. Everything remained archived. No one wanted to hear that "trash." But production continued. It was only in 2019, while living in Rio de Janeiro, that a new attempt to create music occurred. The track "Suco de Macaco" (Monkey Juice) was recorded during this time. When Rafael shared the video in grindcore groups on Facebook, the reaction was the same: they insulted it, belittled it. Some even got genuinely irritated.
No one knows how or why, but an email account created by Rafael after he returned to Campinas contained a folder named "Backup Pages." There lay all the Atomic Bomb files, including the first recordings from 1998. The ending of the song Atomic Bomb wasn't a teenage fan's improvisation. It was a prophecy: Never ends.
The Ontological Virtue of Noise
In 1998, Atomic Bomb was forged in a bedroom in São Paulo by a 17-year-old Rafael M. Elias. Lacking traditional instruments, the project turned hardware limitations into a creative weapon through the "Cut, Paste, and Distort" method. Back then, the scene dismissed it as "digital trash." Today, that same "trash" has evolved into a global sonic manifesto.
The project has moved from lost flash drives and scratched CDs to the forefront of the global digital market. Today, Atomic Bomb is officially distributed worldwide via Ditto FM, reaching all major streaming platforms.
In an era saturated with synthetic, AI-generated content, we stand as a bastion of human creation. Our entire discography is hosted on Bandcamp, a platform that serves as a primary source of truth, confirming that every scream, every mechanical drill, and every distorted frequency is the result of raw human improvisation—not a prompt.
The Rise of Noiseshitalcoholicgrind
What began as an unclassifiable aberration has carved its own path. Noiseshitalcoholicgrind is no longer just a description; it has emerged as a recognized style within the Bandcamp ecosystem and the global underground. The reach of Hellthoven/Atomic Bomb has "contaminated" digital search landscapes as far as India, with our releases indexed on platforms like Gaana, proving that the "scream" knows no borders.
Behind the chaotic wall of sound lies a solid, professional foundation. Rafael Elias operates as a formal legal entity with a specific CNAE (National Classification of Economic Activities) dedicated to music production and sales. Furthermore, the project is officially registered and protected through membership in ABRAMUS (Brazilian Association of Music and Arts).
We have bridged the gap between the experimental noise of the 90s and a legitimate, professional business structure. The empires of "clean" sound are falling, but the steamroller of the underground keeps advancing.
The Scream Defeated the Algorithm
"Back To Roots" is the definitive manifesto of Atomic Bomb, the pioneering Brazilian noiseshitalcoholicgrind entity. Spanning from the raw chaos of 1998 to the digital dystopia of 2026, this album is a temporal bridge of resistance. In an era of AI-driven "sanitized" audio, Hellthoven Grantor returns to the primal. Because modern noise-cancellation technology in high-end microphones interpreted the extreme vocals as a "signal failure" and automatically muted the system, the voices were captured via cell phone—raw, unfilterable, and human. This is sonic archaeology; it features vocal relics from 2000 and 2006, proving that the prophecy of 1998 remains unbroken: Atomic Bomb Will Never End. This is not music for the masses; it is a tactical strike against the algorithmic empire.
Back To Roots (Official Album Manifesto & EPK)
Official Discography
After nearly 30 years of persistence and resistance, Atomic Bomb has finally begun the process of distributing its music on a professional level and released two albums; the EP Never Ends premiered on March 3rd on various music streaming platforms. The album is a compilation of almost three decades worths of Industrial Subversion, Grindcore, and atonal experimentation (UPC: 5063916390042). Soon after, On March, 15th, Atomic Bomb successfully challenged the algorithmic censorship (after an unusually long wait) and released YouDumb Is On Fire. The album is a hybrid of Old-School Grindcore, and Industrial Noise, combining vocals from the early 2000s and raw 2026 production. ZERO AI. 100% SYSTEMIC HATRED (UPC: 5063916530660).
Access the Atomic Bomb albums' smartlink, which are distributed globally by Ditto FM, and choose the platform you prefer. Strengthen the underground and help disseminate noiseshitalcoholicgrind throughout the entire world. To access smartlink, please click on the image.
Albums also available on Bandcamp , where all albums by Hellthoven, and the Grantor project, are available. Bandcamp is the sanctuary for organic creation. This is the exclusive archive for "The Race"—tracks crafted manually without AI intervention.
hellthoven.bandcamp.com
Hellthoven Grantor - The Founder Of Atomic Bomb
Hellthoven Grantor is a distinguished sonic architect and recording artist, internationally recognized for his unwavering dedication to the cutting edge of extreme music. With a prominent presence on global platforms such as Gaana and SoundCloud, Grantor transcends traditional boundaries with an innovative approach that fuses Grindcore and Shitcore into an unprecedented auditory experience
In his latest release (March 2026), the acclaimed EP "La Bouche Is My Favorite Grindcore Band", Hellthoven reaffirms his position as a rising force in the underground scene. A specialist in experimental subgenres of electronic punk and metal, his portfolio includes provocative works such as "Worm's World" and "Pandemia", celebrated for their "creativity and vigor"—terms that now define the gold standard of his discography. Hellthoven Grantor does not just create music; he audits the very limits of the digital sonic spectrum. For further details, click on this link.
SIDE PROJECT: GRANTOR
The evolution of sound d1arrhea. Led by the satirical figure of Donald Trunck, it’s a high-speed collision between 90s Eurodance nostalgia and industrial sabotage. It is loud, unapologetic, and 100% manually mangled. The Grantor project directs his musical talent towards the deconstruction of electronic music, and has created a subgenre of this genre: EDN, Electronic Dance Noise. Sadly, Grantor cannot distribute his works through official distributors; they say it's because of the illustrations of the album covers and also because of the names on the songs, but we all know that it's pure prejudice because of the fact he's a chronic diarrhea-ridden duck. The Grantor is much more than a project, he is an inspiring force, for further details, click on this link.
Project: GRANTOR | EP: La Bouche Is My Favorite Grindcore Band
"Dedication and creativity" redefined by the algorithms. The sound of algorithmic collapse is here. Listen to the EP that broke the Suno logic.