The air in the venue is thick with anticipation, a tangible pressure before the sonic storm. Then, it breaks. A torrent of sound erupts from the stage—a maelstrom of heavy, dark guitar structures, anchored by potent bass lines and a rhythmic section that shifts and batters with calculated ferocity. This is the auditory assault of Vein, a cornerstone of Bogotá’s formidable metal scene. But as the music surges, another spectacle unfolds.

To the side of the stage, a sixth figure moves with a different kind of violence. This is Iván Chacón, and his instrument is a canvas. With frenetic, rhythmic gestures, he attacks the blank space with paint, translating the ideology of each song into a unique, visceral work of art created in real-time. The performance is a synthesis of aggression and creation, a multi-sensory experience where sound and image are locked in a symbiotic, chaotic dance.

This defining image of Vein—part death metal concert, part performance art installation—is the lens through which to view their work. Vein represents a crucial evolutionary step in the rich, often turbulent history of Colombian metal. They are a band that not only channels the historical fury of their environment but also elevates it, pushing the boundaries of the genre through an ambitious and deeply conceptual fusion of sonic and visual art.

Their unique approach gives physical, immediate form to the abstract and complex themes churning within their music—the internal struggles and societal pressures that are difficult to articulate in words or notes alone find a parallel expression in the raw, improvisational strokes of paint on a canvas. Each live show, featuring a different painting, becomes a singular, unrepeatable event, a live interpretation of the energy shared between the band and its audience.

The Genesis of Vein in Bogotá’s Cauldron

Vein’s origins are intertwined with Bogotá’s long and complex relationship with rock and roll. The genre first arrived in the 1950s and 60s, an anglophone import that quickly became a vehicle for youthful rebellion against the city’s conservative social fabric. Early concerts were cultural flashpoints, moments where a new generation asserted its will against the traditions of the old.

This rebellion had hardened in the 1980s and 90s. Colombia was engulfed in a period of intense social and political violence, and for the youth of Bogotá, the nascent sounds of extreme metal became a necessary catharsis—a “cry of fury” against a precarious and chaotic reality. The scene grew from the ground up, nurtured by a do-it-yourself ethic of fanzines, underground concerts in tiny bars and warehouses, and a shared sense of marginalization. Metal was not an escape; it was a confrontation.

It was into this legacy that Vein was born in late 2013. The band was founded in Bogotá by a collective of seasoned musicians, comprising “members and ex-members of renowned Colombian acts,” who were influenced by the sounds of death and groove metal. They immediately began arranging ideas and played their first live show that same year.

This thematic focus, however, demonstrates a significant maturation of the Colombian metal narrative. While the pioneering bands of the 80s and 90s directed their rage outwards at the overt violence and corruption surrounding them, Vein turns the lens inward.

Their lyrics focus on “the introspection of human being and its relationship with society,” a “protest against the abuse of power,” and an exploration of “the impulses censored by society and the internal struggle with our vices and so called sins.” Their music explores the psychological fallout of living under such sustained pressure, examining the long-term, existential consequences of the Colombian experience and making their art a deeper, more nuanced form of social commentary.

This complex artistic vision is executed by the band’s six-member collective. The sonic assault is delivered by Angel Niño on vocals, the dual-guitar attack of Jairo Vargas and Julián vargas, Lina Bermúdez on bass, and Alejandro Torres on drums. Uniquely, the lineup is completed by Iván Chacón, who performs live “action painting” as the band’s sixth member, translating their sound into visual art in real-time.

A Declaration in Sound and Pigment

After honing their craft, Vein released a digital EP with four songs in 2015. This release opened doors for more live performances and an active schedule over the next two years.

A watershed moment for the band came in 2017 with their performance at Festival Rock al Parque. As Latin America’s largest free rock festival, Rock al Parque is the single most important platform for an emerging Colombian band, a launchpad that has propelled countless national artists to international recognition. Vein’s inclusion in the lineup was a major validation, and their performance earned them widespread recognition from a larger audience, media, and promoters.

Shortly after this success, a deal was signed with HateWorks, a prominent label for extreme music in Colombia, to release their debut full-length album, ‘Chapter I.’ The record’s musical architecture was praised as “solid death metal with a modern twist,” defined by its heavy, brooding guitar work, commanding bass, and a- sophisticated rhythmic approach that prioritizes groove and power over “nonsense speed.”

Critics identified it as a potent “death metal groove mix,” drawing comparisons to international heavyweights like Lamb of God while acknowledging that the band possessed a sound entirely its own. The album’s visual presentation was equally deliberate, with rich illustrations that served as an essential component of the music, linking the recorded artifact back to the live “action painting” concept.

Inside the “Action Painting” Phenomenon

Central to Vein’s unique identity is their “sixth member,” visual artist Iván Chacón. Far from a stage gimmick, Chacón is a highly credible artist in his own right, with a background as a professional graphic designer and illustrator who has received formal artistic training, published numerous books, and has experience as an educator. His presence solidifies the band’s classification within the “Art Rock” genre, a term used on his own website to describe Vein’s experimental and multi-disciplinary approach.

The specific technique Chacón employs is “Action Painting,” a mode of abstract expressionism most famously associated with Jackson Pollock. This artistic choice is conceptually perfect for the band’s sonic template. Action Painting emphasizes the physical, spontaneous act of creation as an integral part of the work itself; it is about process, energy, and subconscious expression.

Death and groove metal are themselves intensely physical genres, demanding visceral engagement from both performers and audiences. Chacón creates his paintings live to the rhythm of the music, performing a direct translation of energy across mediums. The percussive aggression of a blast beat becomes a violent splash of paint; the heavy, down-tuned groove of a riff becomes a broad, deliberate brushstroke.

This creates a powerful symbiotic relationship. Chacón is not merely accompanying the music; he is engaging in a non-verbal dialogue with it. His official role in the lineup is listed as “Action painting,” underscoring that his physical, rhythmic gestures are considered a fundamental part of the band’s total output. His influence extends beyond the stage, cementing his position as a key architect of Vein’s complete aesthetic vision.

The Forthcoming Era and a Crowded Name

After the 2020 standalone single ‘Master,’ Vein has returned with the first tastes of their next chapter: the 2024 single ‘Bitches From Hell’ and its 2025 follow-up, ‘Redemption.’ These tracks, released via their longtime collaborators at HateWorks, signal the impending arrival of the band’s sophomore album, titled ‘Reveal.’

This situation is a microcosm of the systemic hurdles that artists from non-Anglophone markets often face. Because search algorithms and digital platforms now govern discovery, the North American band of the same name, operating within a larger and more globally dominant market, established a more significant digital footprint.

Consequently, a search for “Vein band” is overwhelmingly likely to direct a potential new listener to the North American act, effectively rendering the Colombian band invisible to casual international discovery. This reality makes Vein’s unique artistic proposition—the undeniable visual signature of the Action Painting—all the more critical as a key differentiator to cut through the digital noise and capture the attention they deserve.

Band management faces a critical choice: either become more proactive in promoting the band’s unique identity and releases, or risk the band remaining permanently in the shadow of their North American counterparts.

Colombia’s Bleeding Edge

Vein stands as a multi-disciplinary art collective, an entity that is at once deeply rooted in the socio-historical soil of Bogotá’s metal scene and actively pushing its artistic canopy into new, uncharted territory. Their work is a testament to the enduring power of extreme music as a tool for both social critique and profound personal introspection.

They operate within a contemporary Bogotá scene that is vibrant and thriving. The city is a mandatory stop for major international metal tours, with bands like Behemoth, Cradle of Filth, and Exodus scheduling dates, and it supports a robust ecosystem of local festivals and events that keep the underground energized. This healthy environment, fostered by dedicated local labels and agencies, provides a fertile ground for a band as ambitious as Vein to grow.

Given Vein’s fusion of visual art and metal, how does this multi-sensory approach change your interpretation of their music, and what do you hope to see them explore visually with the new album ‘Reveal’?