Medellín, Colombia has long been a breeding ground for extreme metal. From the savage Ultrametal roots of the late ’80s to trailblazers like Masacre and Witchtrap, the city has carved out a reputation for grit, self-reliance, and uncompromising brutality.
Emerging from that lineage in 2016, Defamatory have spent nearly a decade refining their take on raw, ’90s-inspired death metal. With their second full-length, Path of No Return, released November 2025 via Awakening Records, the band deliver 31 minutes of savage, mid-paced destruction steeped in the spirit of Death, Morbid Angel, Obituary, and Entombed — yet firmly rooted in Medellín’s modern underground.
We caught up with Andrés Figueroa and the Defamatory crew to dive deep into the making of Path of No Return, surviving COVID delays, working with the Uribe brothers at Dirty Sound Studios, the Colombian metal scene, and what lies ahead.
Album & Sound – Path of No Return
1. Path of No Return took several years to complete, with COVID delays stretching the gap between albums. How did that downtime affect your songwriting mindset and the way you approached capturing that dark, crushing sound at Dirty Sound Studios with the Uribe brothers?
First of all, I want to express my deep gratitude to Li and the entire Awakening Records team for signing us. We’re extremely proud to see our music reaching different parts of the world. And secondly, I want to thank CRANNK for taking the time to do this interview with us.
The recording process for our second album, Path of No Return, actually began before the COVID-19 pandemic. We managed to record all the drums, all the guitars, and almost all the bass. Unfortunately, once the pandemic hit, everything had to be put on hold. That period marked the band deeply — we had no idea what was going to happen. We were isolated, locked down, I had to stop working, some of my relatives became very sick, and I myself was incapacitated for three months after getting infected.
It was a dark period for the band. We lost our initial momentum and motivation. After some time, we tried to resume the recording sessions, but a second wave of the virus came, and we were shut down again. At that point, I had lost all motivation. On top of that, our bassist Claudia left the band, and we went into a temporary hiatus.
When things finally started returning to normal, I had lost my job and spent over three months working informally. Despite all odds, we decided to push forward. Little by little, we recovered our motivation, managed to gather the money we needed, and completed the recordings. Those final two sessions were incredibly inspiring — everything sounded solid, heavy, and we received a lot of help and support from the Uribe brothers at Dirty Sound Studios.
I believe all of these personal circumstances contributed directly to the furious, dark, and brutal sound of the album.
2. The opener “Degrading Being” hits immediately — divebombs, blasts, double kicks, but still grounded in heavy mid-paced chugs. What was the goal with that track as the album’s first statement?
Choosing the track order of an album is always a delicate process for me. Nothing is done lightly — I spent several days analyzing the best way to place each song. As a fan and consumer of extreme music, I always want to make an impact from the very first seconds. I want listeners to feel trapped and engaged from start to finish.
That’s why I chose “Degrading Being” as the opening track. It starts with several divebombs, then moves into a mid-paced riff that works almost like a warm-up before everything suddenly explodes at full speed and fury with a very ’80s-style thrashy riff. To me, it’s the perfect way to kick things off.
3. Songs like “Summoning Hate” and “Corruption of the Corpse” balance brutality with strong, almost chant-ready melodies. How intentional is that balance, and how do you inject hooks without losing the old-school death metal core?
As I mentioned before, before being a musician I’m a devoted consumer of extreme music. When I’m writing, I simply put down ideas that feel right — if a riff doesn’t convince me, I discard it immediately. I like having variety within the songs: fast sections with breaks, followed by more groove-oriented parts, but always keeping the intensity intact.
For example, “Summoning Hate” was heavily inspired by old Sinister. “Corruption of the Corpse” has an intro very influenced by early Cannibal Corpse (which is also where the song title comes from). Honestly, I’m a fan of those classic compositions, and they became imprinted in my memory forever. One way of honoring all that influence is by recreating the kind of music I love — but in my own way.
4. “Ritual Torment” feels like the perfect closer — fast, furious, and final. What made it the right way to end the record, and how did Juan Valencia’s guest solos shape the overall feel of the album?
I wanted to close the album with the most intricate song. At first listen it may not seem like it, but it’s the track with the most tempo changes. I wanted it to start with something calmer, then gradually transition into something more chaotic, followed by a solo that transports you somewhere else — a place of torment and confusion. That’s exactly why it has the longest guitar solo on the entire record. After all that chaos, it ends the same way it began, but with a fade-out, giving the feeling of a ritual of torment that never truly ends.
Juan Valencia’s creative contribution on the solos was absolutely remarkable. He understood perfectly the essence of what I wanted to express. I gave him the base riffs and simply let his creativity flow freely. Without a doubt, involving him was the right decision, and he will definitely continue as the band’s “fifth” member.
5. Lyrically, tracks like “Degrading Being” explore existential decay and the desire to escape existence altogether. What themes tie Path of No Return together conceptually, and how personal do those ideas get for you?
When I write my lyrics, I draw inspiration from my own existence — from how I feel and perceive the world around me. It’s no secret that Colombia, and the city of Medellín in particular, is a very violent place, marked by an armed conflict that goes back decades. That violence shaped the way I see life.
In Defamatory, I explore all these themes in a very personal way, from a critical and philosophical perspective. I address subjects like social inequality, injustice, the absurdity of life, religion, nihilism, pessimism, and death as the only natural escape from existence.
Evolution from Premature Burial
6. There’s an eight-year gap between Premature Burial and this album. How has Defamatory evolved as a band since that raw DIY debut, and what did you want the sophomore record to do differently?
The eight-year gap wasn’t intentional — the pandemic completely stopped us in our tracks. It’s important to mention that the recording sessions for Path of No Return actually started not long after the release of our debut album. To be honest, there really wasn’t much time between the writing of one album and the other.
However, as a musician and artist, my goal is always to grow and deliver the best quality I can. Even though not much time passed between composing the first and second albums, I feel that Path of No Return is a much more mature record — more solid, better crafted, with stronger riffs and more introspective, deeper lyrics. I should also highlight the excellent production done by the Uribe brothers.
7. Andrés, you handle all the music and lyrics, how does the songwriting process come together with Cesar’s lead work and the rhythm section to keep things both intricate and brutally direct?
Yes, I handle all the instrumental writing, and I even compose most of the drum patterns directly for Anderson. The songwriting process always starts with a guitar riff that comes to mind, and from there I begin integrating the other instruments. I always use GuitarPro to write the music, refine the details, program the drum patterns, and so on.
Once the song is fully structured, I share it with the rest of the band. Then, during rehearsals, we put everything together and incorporate my bandmates’ ideas and suggestions.
Label, Scene & Identity
8. You ultimately signed with Awakening Records, passing on offers from the US, Mexico and Europe. What made Awakening the right fit for Defamatory, and how did seeing bands like Casket Grinder work with the label influence that decision?
When Path of No Return was ready, I shared it privately with a few labels. Even though I received tempting offers from other countries, what Awakening Records offered was far above the others. It was also motivating to see the bands of my friends — Casket Grinder, Ossuary, and Hellion — working with the label.
Fortunately, Li took interest in our music, and we couldn’t be happier. We hope this partnership lasts for many years, and we’re already working on the third release under this alliance.
9. Recording with members of Witchtrap at Dirty Sound ties Defamatory directly into Medellín’s extreme metal lineage. How much does that history influence your sound and work ethic today?
Ever since I was around 14 or 15, still in school, I discovered Masacre (Reqviem) and Witchtrap (Sorceress Bitch), and without a doubt they shaped my taste for metal. I grew up playing covers of their songs, and that helped me refine my technique as a composer. Going from being just a fan of their music to sharing the stage with them — and having my band become a reference for them — fills me with pride.
I consider both bands my “parents,” and without them Defamatory simply wouldn’t exist.
10. Colombia’s death metal scene has always had a reputation for grit and self-reliance. What’s the current state of the scene?
Currently, the metal scene in Medellín stands out as one of the strongest in all of Colombia. We have legendary and highly influential bands that have opened doors for emerging acts like us to carve out our own path and gain recognition. Still, it’s a tough and constant battle to stand out.
We have international bands playing here almost every month, paid shows nearly every weekend, and government-supported festivals like Altavoz, Festival Rock C4, Octarock, and Rock al Río.
Looking Forward
11. What does the live and touring plan look like for Path of No Return?
Right now we’re promoting the album with a series of shows in our city, and we already have three dates confirmed. We were selected as the supporting act for Nocturnal and the legendary Evil Incarnate.
Planning an international tour is no longer as difficult as it used to be — it requires a big effort, but it’s not impossible. We truly want to take our music outside of Colombia.
12. You’ve already mentioned working on album number three. What can fans expect next?
Although it’s difficult to innovate within such a strict and radical realm as extreme metal, we definitely don’t want to lose our essence. Our approach remains honest and purist. We’re working on creating more memorable songs and lyrics, diving deeper into our instruments, and exploring ideas as they come to us.
Influences & Final Shots
13. Were there specific albums that shaped the sound or mood of Path of No Return?
I absolutely love Leprosy by Death, Dawn of Possession by Immolation, and Left Hand Path by Entombed. I also remember listening endlessly to Bleed for Us to Live by Gutted when I was 17 working night shifts. That album heavily influenced my songwriting.
14. What’s the biggest challenge facing Colombian death metal bands trying to reach a global audience?
Many bands don’t have a solid team behind them. We don’t have major labels or marketing departments; almost every band self-produces its releases. There is also corruption when selecting bands for government-supported shows. That’s why Defamatory has distanced itself from that system and produces its own shows independently.
15. If Defamatory could tour with one ’90s death metal band, who would it be?
Although technically no longer active, it would have been incredible to share the stage with Death. Chuck is the metal musician who has influenced me the most in my career.
Closing Words
Thanks again for your time and for the effort you’ve poured into Path of No Return. Massive respect from us at CRANNK for keeping classic death metal alive while pushing it forward from Colombia
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