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.
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.
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!
The new realese Fusio Nuclearis presents an intentionally chaotic fusion of extreme metal, experimental noise, regional rhythms, and cultural references that should not coexist — yet somehow do. Built on a foundation that ranges from grindcore and industrial distortion to forró, folk psychedelia, and techno, the record treats genre boundaries as little more than suggestions. The result is a work that feels less como a collection of songs and more like a field study in sonic disobedience.
The title itself emerged from an algorithmic accident: a simple search for “nuclear fusion” in Latin produced Fusio Nuclearis, while the reverse search triggered unrelated results about hair treatments and spelling corrections. The glitch was embraced as part of the concept, replacing the original title History of Nothing and reinforcing the album’s commitment to confusing both listeners and search engines.
Across its thirteen tracks, Fusio Nuclearis alternates between satire, cultural commentary, absurdity, and deliberate provocation. It moves from philosophical loops inspired by classic television, to social criticism, to regional homage, to pure noise, to resurrected vocals from the late 1990s, and even to fictional substances from tokusatsu lore. The album treats nostalgia, chaos, humor, and brutality with the same level of seriousness — or lack thereof.
Rather than seeking cohesion, Fusio Nuclearis embraces contradiction as its central aesthetic. It is a work that acknowledges its own excess, mocks the expectations placed upon extreme music, and simultaneously delivers exactly what those expectations fear. In short: a record that should not exist, yet insists on existing.
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 Bandcamp, SoundCloud 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.
Grantor's other masterpieces are available through the links below, the singles How Do You Dumb and Barbie Hell, as well as the first EP with songs from the time when the diarrhea-ridden duck had not yet destroyed the EDM scene.
Official Social Network Accounts
