The Founder Of Atomic Bomb
"While the term ‘Hellthoven’ is not widely recognized in classical psychological or psychoanalytical literature, its emergence as a practical bridge to the collective unconscious is undeniable."
According to web search results Hellthoven Grantor is a distinguished sonic architect and recording artist, internationally recognized for his unwavering dedication to the cutting edge of extreme music.
It was a deliberate, carefully engineered method to break through the noise without playing the influencer game — and without contributing to the same corporate machinery that suppresses independent art. The entire point of explaining it here is to make sure people understand that the long‑term goal is to create visibility for other underground artists as well. If someone searches for “Hellthoven Grantor” and sees strange or contradictory results, they might assume it’s all a joke and never discover the music or the broader artistic work behind it.
By clarifying the process openly — here, on the official website — search engines will gradually correct their interpretations, and new visitors will understand that this was not chaos for chaos’ sake. It was a one‑person operation designed to carve out space in a system that normally ignores anything that doesn’t fit the sanitized mainstream mold. In a world where everyone is trying to become an influencer, I proved that you can still break through without selling your soul to the algorithm.
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.
Listen to World Wide Infection by Atomic Bomb
The launch of World Wide Infection transcends the mere arrival of a new album; it is the pinnacle of a meticulously planned aesthetic ascent that took three decades to execute. This work articulates surgically the subversive rawness inherited from the project's foundation in 1998, with the absolute technical rigor, the sophistication of sound engineering, and the strategic vision that the year 2026 provided.
More than simply ending a creative hiatus that hung over the band, World Wide Infection represents the definitive strategic move for the repositioning of the Atomic Bomb project in the global market. It is a sonic manifesto that challenges complacency and uniformity. Atomic Bomb will never end! This is a worldwide infection, and you can't stop the bomb.
Who Is Hellthoven Grantor?
Hellthoven (or Hellthoven Grantor) is the artistic name of Rafael Elias, an independent creator, noise experimentalist and member of ABRAMUS (Brazilian Association of Music and Arts) — membership code 11035291. Global traceability through IDs: IPI I0076018772 — CAE 1343163183 — IPN 11643350
Rafael created the project Atomic Bomb back in 1998, using samples from other bands and mixing his own growling vocals on a computer with a plastic microphone. He has used the pseudonym Hellthoven since the beginning of Atomic Bomb; He is theoretically Atomic Bomb's vocalist.
New Release Out Now!
Noise’s Hit All Colic Grind is not an EP released as a mere artistic expression or a simple collection of tracks. It represents a new phase that also encompasses the other projects under the name of Rafael Marques Elias: Atomic Bomb and Grantor
Musically, the EP blends industrial noise influences with old‑school grindcore, following this direction across all five tracks.
Technically, it is the most elaborate and conceptual work in the Hellthoven catalog, unlike its predecessor Fusio Nuclearis, where Rafael himself acknowledged inconsistencies in the mix of certain tracks. This goes unnoticed by most listeners because the album is an experimental fusion of genres and styles, but it becomes immediately obvious to any producer with trained ears.
This means that, beyond expanding and exploring the core influences behind all of Rafael’s projects, the EP also marks the moment when production and mixing reached a much higher level — transforming DIY and Home Studio methods into productions that approach professional technical standards while still preserving the chaotic, distorted and aggressive sound that emerged in the late 90s during the early days of Rafael Elias’ projects, and which has remained constant and unshaken to this day.
At the same time, the EP injects yet another dose of sarcasm into the databases of big‑tech platforms and forces streaming services to catalog the track “Noiseshitalcoholicgrind,” making the term permanently absorbed into the organism of the global music industry. The EP title itself is a deliberate phonetic disguise: Noise’s Hit All Colic Grind — a phrase that makes no sense and even broke translation platforms like Deep Translate. When analyzed by an algorithm, it raises no flags, but when read quickly, it sounds exactly like “noiseshitalcoholicgrind,” triggering the reader’s “mental audio.”
The EP cover pays a humorous tribute to Rob Halford, the “Metal God” of Judas Priest. Created with the help of artificial intelligence, the image shows Rafael — under the Hellthoven alter‑ego — on a lit stage, wearing a leather jacket and a gas mask, sitting on a bicycle and raising a beer bottle. The montage is not mockery, but a modest tribute, highlighting the contrast: Rob rides a Harley Davidson; Hellthoven only has a bicycle.
AI Usage Statement
Although most of my work is created through traditional composition, there was a period in which I experimented with AI‑generated music. This included an experimental album designed to test the limits of the platform, intentionally forcing absurd combinations — from upbeat country to grindcore and industrial noise — just to understand how far the system could be pushed. However, two factors led me to abandon AI music generation entirely.
First, AI cannot replicate the human element. Creativity, intuition, emotion, and the unpredictable nature of inspiration do not fit inside prompts, no matter how detailed they are. An AI‑generated track will never carry even a fraction of the human DNA found in a piece created through real effort, experimentation, and personal expression. Even an imperfect human composition has more authenticity than anything produced by lines of code.
Second, it became clear that the platform used for those experiments — Suno AI — operates in a way that raises serious ethical and legal concerns. Two independent reports, validated by the ITI (Instituto de Tecnologia da Informação, a Brazilian federal authority), confirm that the system relies on practices consistent with plagiarism and unauthorized use of copyrighted material. These reports were issued through the Verifact platform and remain valid until 2029. More information about this can be found at sunopromptbuilder.com.
Additional Note
For these reasons, AI‑generated music is no longer part of my creative process. My work continues in the traditional way — built on intention, experimentation, and the human experience that no algorithm can imitate.
It is important to clarify that I am not against technology, nor do I reject the use of artificial intelligence. I rely on AI every day for tasks that would be impossible to manage alone — video generation, certain graphic elements, website maintenance, emails, metadata, distribution requirements, and the endless administrative work that comes with producing music independently. AI is a valuable tool, and in many cases, an essential one.
My criticism is directed only at systems presented as “generative” while operating through methods that amount to copying and repackaging existing human work without consent. These platforms do not create; they replicate. What they offer is not a new form of art, but a new form of plagiarism — a process that violates intellectual property rights and disrespects the creators whose work was absorbed into their datasets without authorization.
In the specific case mentioned earlier, AI‑generated music was not innovation. It was imitation. And the same applies to other artistic domains — illustrations, paintings, literature, and beyond. My stance is not anti‑AI; it is pro‑ethics, pro‑authorship, and pro‑human creativity.
AI cannot generate creativity
Side Project | Grantor
A descent into vocal degeneration and abrasive electronic collapse (Electronic Dance Noise). It exists in the space between noise, satire, cultural commentary and algorithmic subversion — a project that embraces both sonic extremity and conceptual unpredictability.The “Donald Duck with Diarrhea” vocal style is pushed to its limit — unstable, broken, and intentionally wrong
Grantor is the project that emerged from the collapse of Atomic Bomb and Hellthoven. This is the most degenerate, most unstable, most unpredictable project—vocals that are distorted to the limit, fragmented rhythms, noise as a language, an aesthetic of decay.
He cannot even be included in the list of distributors, basically because of the names on the songs and the cover illustrations, always featuring “vocalist” Donald Trunck, who has no connection to politics, his name is TRUNCK. Albums available exclusively at SoundCloud, Bandcamp or YouTube.
The project gained unexpected visibility after the release of The Grantor, an album that spread organically through Bandcamp and YouTube and eventually reached international platforms such as Gaana in India. Because of the unconventional promotional strategy and the chaotic nature of the metadata surrounding it, search engines began generating their own interpretations of what “Hellthoven Grantor” was supposed to be. Some descriptions labeled it as an “archetype”, others as a “distinguished sonic architect”, and many more appeared without any direct input from the artist.
Official Social Network Accounts
