We get very few bands through here with enough personality and attention to reality to express something more than wanting to be in a band as “cool” as Death and Opeth, so it was a rare treat when the Dissidence Seven Corpses Impaled slide across our desks.

Luckily the band had time for an interview, and now our readers can benefit from their wisdom and spirit…

When did Dissidence start and how did you come together as a band?

Dissidence was born in 2018 – a proposal to play classic death metal. Three friends from southern Medellín (Colombia) who shared a common interest, tastes, hobbies, and a drummer recommended by one of the participants met. We had basic experience with instruments. Together we learned, improving both in technique and compositions. During that time, we decided to get better instruments, look for better rehearsal spaces, and some almost self-organized or underground events. That’s where it all began, where we began to raise expectations and show what we were willing to do for this genre and to be a representative band of it.

After two years, we were already at a great moment. We had written most of the compositions and had already participated in various underground events showcasing our work around the city.

At that moment, we decided to record our first demo to showcase the quality of our material. This project was born among friends with a shared musical connection, eager to solidify a proposal. We worked for years to develop what is now our first full-length album, Seven Crosses Impaled, which will be released on June 27, 2025 through our YouTube channel too.

What were your influences?

Our influence as a band has always been European Metal. Dissidence was born from a love of death metal, influenced by bands like Hypocrisy, Skeletal Remains, Vital Remains, Grave, Entombed, Unleashed, Bloodbath, Cannibal Corpse, Morbid Angel, Asphyx, and Benediction. All these bands and these nuances of the genre were what drove the direction of our songs and productions.

We don’t listen to much national metal, but there are also a huge number of high-level bands and offerings. Currently, these influences are what we listen to in our daily lives, and with which we share every moment among the band members. We’re very much drawn to the style and sound of European metal, as they have a very distinct style, sound, composition, ideas, projection, and more.

Every day, these are the bands we listen to in our daily lives.

Outside of death metal, we also like and are deeply drawn to the black metal genre. Bands like Horna, Sargeist, Pestlegion, Hovmod, Bythos, Mgla, Kalmankantaja. These are our daily routine, our personal taste of black metal influences, in a more personal way.

What kind of metal are you trying to create and what do you want to achieve?

We’re interested in creating aggressive, devastating, imposing, and dark death metal. We want to attract all European metalheads who have witnessed the birth of historic bands, and involve them in enjoying our work, so they can feel a connection with the project.

We are driven by the desire to transmit, to awaken emotions, so that every scream, every riff, generates a sensation in the listener, in the fan of the genre, and in the person seeking to immerse themselves in this style of music.

We are a band that likes to create for the listener, for the fan, for the person who finds their purpose in our songs, in our perseverance. We want to inspire bands or generations to work in this genre of Death Metal.

Our artistic expression is violent, imposing, with an aura and presence of darkness. We express the dead side of the soul, embodied in the character who transmits and interprets that wave of coldness.

What is the metal scene like in Colombia?

In our country, there is a great closeness and brotherhood between bands with both short and long careers. Bands tend to collaborate with each other underground, supporting each other through events, merchandise purchases, and social media. It’s a support generated between the bands themselves and events in the city.

We could categorize Colombia as a place where there is a lot of attention when it comes to metal. Bands of diverse genres, offerings, stagecraft, and incredible personalities. Each city has its most representative bands; my city, Medellín, is, by nature, a land of death metal. Giant bands like Masacre (which has toured countless times around the world and Europe), bands like Vitam et Mortem, bands like Ossuary, Into the Fucking Grave, and Abysmal Hate represent them. There’s a wealth of talent in this city; the majority of the audience leans toward death and black metal.

The support for concerts is truly tremendous, with national bands performing. Fans are willing to travel between cities, between municipalities, and between regions to see a metal concert. Also, in general, bands from abroad are warmly received by both the bands and the fans. Here, the audience and the bands take their responsibility for their music seriously, and being able to deliver power.

Support and closeness are provided for all types of events, be they death, black, thrash, grind, melodic, etc.

Every project has its audience, and they are actively supporting it at all times.

Where did you record “Seven Crosses Impaled” and what did you use to capture your sound?

Seven Crosses Impaled was recorded in the studio of one of the members of Gaias Pendulum.

All work was done by Alfredo Gonzalez, who was our producer (recording, mixing, and mastering) throughout the entire Seven Crosses Impaled process. We captured the vocals with a Slate Digital ML-1 microphone directly into an Apollo Twin X audio interface.

We recorded the guitars directly into the audio interface, as well as the bass. The drums were recorded using a Tama, and the Sabian XSR cymbals were recorded with a 10-microphone set.

The entire recording was done raw directly into the audio interface; we gave the final sound to the instruments in the mix.

We’re a band that likes to handle things that way.

We don’t use real amps to capture the sound of any instrument. All the final sound was done in the mixing section, with virtual amp emulations.

Did you have any demos before this, and how do you think you evolved?

We have a two-song demo — “Crushed in Faith and Bloody Dreams.”

That demo was recorded over six years ago, as a first attempt to immerse ourselves in recording our material. This was done as a live section edit. All the music was recorded at the same time, followed by the vocals.

The demo was of quite acceptable quality for the time it was recorded. The changes are obviously enormous, also built on experience, perseverance, and work on this project.

We feel we’ve evolved in terms of expression, as well as our performance. We’ve become much more technical, with more detail when playing, and more character and liveliness when singing. I think we’ve perfected every aspect of each song, both in the composition and execution of each song. This way, we’ve managed to convey a solid feeling for the fans.

We consider this evolution a result of the discipline of work. Although it took a long time, we worked hard until we achieved it, and there are many lessons from it that will guide us toward the new works the band will be developing in the future. Working with those past experiences and experiences

What influences do you receive from books, movies, and philosophy? Are you associated with any school of thought?

In our project, we seek to view violence and horror through artistic expression, and we thrive on embodying the character each member plays and their media role. As a band, we are heavily influenced by horror films, violent films, theatrical themes, and films with an undercurrent of panic or fear.

Films like Saw, The Hostel, Friday the 13th, Terrorizer, etc.

Also, regarding reading, we could reference artists like H.P. Lovecraft. He could engage in an inspirational conversation about some of his works.

We like the subject of philosophy, of thought, of intensely and autonomously seeking wisdom in any subject we practice. We approach knowledge, morality, and the mind. The interest in learning, seeing, knowing, and bringing our thoughts closer to what instinct calls us.

Currently, we don’t associate ourselves with any school of thought; we don’t have a line of thought on how to think or act. Nor do we cross the line into an erratic mind.

We consider being or thought to be something that is molded. It can evolve or adapt with the experience, the experiences, and the mindset of a person with critical thinking, seeing life from a perspective unbiased by a particular way of thinking.

We respect and find perfect people who are aligned with a very defined school of thought. In fact, we greatly appreciate this diversity, which also serves to further cultivate a way of life, points of view, or our own convictions. We still autonomously choose to live outside of a system of thinking. We know the good and the bad, we learn from experiences, from people, from experiences, from conversations. And we only focus on always doing good and serving, which is our personal commitment to ourselves and to humanity.

I hear something that sounds like a Swedish melodic metal influence in your music. Was it a challenge to incorporate this into your traditional music?

Of course! All the members of this project grew up with old-school Swedish/European death metal. To such an extent that to this day, it’s the music we continue to listen to in our daily lives. We began to be inspired by the work of European bands. Our fascination with such intense and diverse offerings was such that our journey into the world of death metal began.

It was truly a natural fit to incorporate this style into our way of playing and our musical culture.

During the period we were building the project, our ear was always focused on Europe, always focused on the countries and bands that we continue to follow and support persistently to this day. We were already somewhat familiar with the style, the atmosphere, the context, and the culture of a band worthy of the European continent. Our work blends various aspects of many influences, but the main one was the demonstration that bands from that side of the world were able to give us.

We don’t listen to much Spanish metal; the whole context is truly very different. There are incredible offerings that support and stand out. But there’s a certain shift when it comes to talking about death metal in South America, and talking about Swedish/European death metal. From the beginning of listening to metal until today, it was what moved us and generated the drive to work persistently on this project.

How much influence do you receive from contemporary war metal, metalcore, slam, and deathcore?

Currently, we’re not very fond of contemporary war metal. None of the members of our project lean too much toward these metal subgenres.

Our interests include subgenres such as: brutal death metal, grind, and melodic death metal.

But throughout our career, none of our members have been really interested in genres like metalcore, deathcore, hardcore, slam, or any of these characteristic metal styles. We know that many people who can consume the content are associated with or familiar with these genres, and that’s really great! It’s like understanding that we are perhaps… a more traditional death metal culture, where we listen to some of its subgenres but we don’t delve too deeply into this shift towards contemporary metal.

What do you think your album communicates and what state of mind does it convey?

The album communicates or transmits that malignant and violent aura, a feeling of aggression and ferocity with every passing minute.

This album would allow a person to take their feelings to a world of imminent darkness, where only pain, death, revenge, and evil are known.

This album recreates the art of destruction, the soul of the darkest side. Where life turns to ash, where the earth begins to spit out poison that not even a chalice could control.

This album is a reminder, an emblem, the essence of a sonic moment where the only alternative is pain. Listeners who enjoy this work will be able to remember that everything that becomes death is born here.

How do people stay in touch with news about Dissidence and what you do?

People can stay in touch with news, updates, information, and the development of our material through our social media.

Facebook: https://www. facebook.com/profile.php?id=61577113885927
Instagram: https://www.instagram.com/dissidencedeathmetal/
YouTube: https://youtube.com/@dissidencedeath

We are currently releasing our full-length album, which will be broadcast on June 27, 2025 at 6 PM (Colombian time) through our YouTube channel. We are doing an incredible promotion with the Polish label, Ancient Sound of Madness. This process we are experiencing every second and is having a huge impact in Colombia and throughout Europe.

This project will be released in physical format, which can be purchased through our social media or through direct contact with ASOM. We hope to have concert dates for all our European fans in the future. That’s our goal, and we’re working on it. We hope not to keep you waiting too long so you can enjoy a live presentation of our work for you. It’s something we have set as a main goal; you’re an incredible audience. We hope to cross borders soon and meet you so we can share in a truly amazing way!

If you have any suggestions, suggestions, or suggestions, please contact us, or if you have any questions, requests, or interest in collaborating with us, please send us an email at the following address: Dissidence612@gmail.com.

Please feel free to contact us with any questions or inquiries; everything is important to us. We will try to respond as quickly as possible.

Tags: death metal, dissidence