Founded in 2002, Disanhellium is the first Gothic Symphonic Metal band that has propagated the Gothic trend in Bolivia.
Disanhellium from the beginning has interpreted music of its own authorship with which has forged the Bolivian Gothic movement with an original criterion free of influences. Being one of the first bands that proposed a sound of Gothic Metal strictly own and free of any intoxication.
The essence of its style lies in each of its members:
It is the "The disevangelizer Herald".
It is the "Lack of fear of the unknown".
It is the "Truth that everyone denies".
It is the "Freeing bell that tolls like a thousand thunders".
It is to "Know the suffering to value happiness".
The name of the band was chosen in 1998 from the conception that society has so much aversion and fear of the unknown that it comes to be branded as Blasphemy and Heresy. Any attempt to unveil the hidden or interpret it in lyrics and music causes society to see it as an anti-evangelical that with a bit of black humor becomes the disangelium described by the philologist and metaphysician Federick Nietzsche.
Within its discography it has 3 long plays:
Disanhellium was reborn at the end of the 20th century and was first revealed to the mortal ears in 2002 in a Dungeon, being one of the first bands to propose a strictly own Gothic Metal sound without any intoxication.
Later Disanhellium is invoked to perform in various venues in which it shares stage with bands of different tendency and style, l sharing diverse audiences that are first introduced to its music.
Disanhellium is the stream of devangelizing philosophy that has come to free the lambs so that they follow their own path.
With trascendental pragmatics that separates the physical from the essential; through the scopes of music that touches fibers and penetrating visions that tears up the veils of ignorance, beyond good and evil it goes flagellating the pale horse of faith, deciphering the labyrinths of ardent torment, in the revealing abyss of the occult where the cold indomitable flames preserve the transgressive truth in which lies the redemption.
As songs and lyrics swing by, the inner ear is delighted and conjures up the subconscious of the masses, with the mute bells calling them by their real name. Creating in itself a scene that by then was once slept in its interiors and wakes up to be gathered in a Gothic Rendez-vous.
The music of Disanhellium, has as its only source and inspiration from the profound silence that lies in the essence of each of its absent and present members who transgress the physical plane through sound to uproot the Being of Fear to what one believes as reality and reveals it as illusory.
"We are not people of faith, we are beings of Conviction".
We offer the Redamntion from our Vineyards of Blood to those who relate and to those who have not yet been in a Gothic Rendez-vous with the death that will perform an Endorcism to reach a longlasting Petit Mort after an pleasant Foreplay.
We strongly advice Do Not Look Back where the shadows used to fall behind and to fall deeply asleep to the rhythm of an Awaken Lullaby ; For this life has our true beings reduced to dust, earthbounding us to a five senses prison from which We shall liberate us all!
Sowing desperation with a Requiem to find what's pure and true that for the meantime is long forgotten in a Comfortable Silence, like the heavens arsonist, Disanhellium wanders wastelands, where beings beyond the astral dwell, and guard the entrance to the Temple of the lost.
"There is no need to die to be born again"
Disanhellium the emblematic band of Bolivian Symphonic Gothic Metal, with 17 years on stages, returns to the studios with its new album produced in Buenos Aires, Argentina.
Exite Et Coagula marks a musical and sound evolution in the career of Disanhellium.
Evoking a pagan romance with death for transcendence, Exite Et Coagula is a universal work without barriers, nor generic limitations. It is not made for a specific audience. It is an honest album free of influences and prejudices. With an ambitious proposition within the genre of Metal and the symphonic Gothic style.
With more than a year working in the pre-production, recording, mixing and mastering at Estudio Paraiso in Argentina with professionals in analog and digital psychoacoustic sound and also with concert musicians, orchestra players and symphonic arrangers that allowed the album "Exite Et Coagula" to offer cinematic sound landscapes that touch fibers and then destroy them with the brutality of metal.
In order to give this work the sensitive and even tragic cinematic characteristic of the Gothic genre, the symphonic orchestration was conformed by symphonic percussions, an ensemble of strings, the brass section, also with solo instruments such as pianos, harpsichords, oboes and harps.
The mystical essence of Disanhellium was greatly enhanced by the implementation of instruments such as the Moog and the Mellotron. Being the Mellotron an infernal designed instrument, basically it is a piano that reproduces a magnetic tape on each key and the tape has the actual recording of lyrical choirs, cellos, clarinets and others, with the note corresponding to each key, works mechanically when stretching the tape to play it. The mellotron was used in the 70s by progressive rock groups such as King Crimson, Yes and Led Zeppelin as well as the Moog.
Exite et Coagula, which in Latin would be interpreted as Transcending to the essence, is a conceptual proposal of Disanhellium. Based on the Alchemy principles "we must consider Living Creatures as Lead and transmute them into Gold".
With Ambiguity in the lyrics it answers many questions, this depending on the cunning of the one who formulates them.
Listen and fear I raise with the moon and vanish with a tear.
Disanhellium has been characterized by offering not only concerts but shows with a very elaborate staging. With a universal sound Disanhellium has stepped on stages of different types and audiences.
From the Under scene which concerts are only for the members of the scene; Passing through Pubs and cultural centers well known in many cities, reaching to a more heterogeneous audience in concert halls and the open-air stages, culminating in high-class scenarios that house more than 5000 people. And finally with the Bolivian folk group "Kalamarka" at the Plaza Mayor de San Francisco on the independence of La Paz serenade in front of approximately 50.000 spectators.
Disanhellium has shared the stage with bands of international renown in the Metal scene as the opening act for: