Dillom Confronts the ‘New Violence’ in His Latest Album
In 2021, the young artist known as Dillom declared, “I don’t have dreams, I have plans. I don’t have enemies, I have fans.” By 2024, that narrative had shifted to a more introspective, almost haunting realization: “Little by little, I became my own worst enemy, searching for myself in an empty shell.” Now, with the release of La Nueva Violencia, the Argentine musician is stripping away the artifice of his persona to confront the harsh realities of the modern world.
Released under his independent label, Bohemian Groove, La Nueva Violencia is a 13-track exploration of the ills of contemporary society—a world where the line between the creator and the product has blurred into near-oblivion. Dillom, born Dylan León Masa, describes the album as a self-devouring project, one that questions the very systems he participates in.
The Anatomy of a Persona
Dillom’s rise to stardom was marked by the success of Post Mortem, a record that cemented his status as an abrasive, genre-defying rock star. However, as he notes in his cover interview with #Billboard, the persona he built to save himself has begun to feed off its creator. “I’m part of the system and also a victim who gets caught up in it,” he admits. “It’s impossible not to be, because you enjoy it.”
The album’s title, La Nueva Violencia (The New Violence), reflects his growing unease with the digital age. Constant exposure to propaganda, war, and the performative nature of social media has created a sense of siege. Yet, Dillom is careful to avoid the moral high ground. He isn’t interested in being a judge; he is interested in being a participant who is acutely aware of the strings attached to his own performance.
A Sonic Shift Toward Chaos
Musically, the album represents a departure from his previous work. Inspired by the synthetic, high-speed energy of Charli xcx’s Brat, Dillom and his production team—including Bernardo Ferrón, Coghlan, and Fermín Ugarte—have crafted a soundscape that blends post-punk, electroclash, and acid house. The result is a “high-speed anesthesia bomb” that feels both chaotic and deeply calculated.
The recording process was just as unconventional as the music itself. Over two weeks in a 1860s house, the team lived in a self-imposed exile, deleting social media and wearing suits to maintain a sense of “aura.” The resulting tracks preserve the imperfections of the sessions: the laughter, the coughs, and the accidental recordings that give the album its raw, human edge.
The Future of the Misfit
As Dillom looks toward the future, he remains skeptical of the current generation of artists who prioritize a “grumpy face” over genuine expression. For him, the goal is to find a way to exist within the industry without losing the ability to laugh at the absurdity of it all. Whether he is a victim or a perpetrator of the system, he remains one of the most compelling voices in the current #LatinMusic landscape.
“I wanted to kill my ‘self,’ my character,” he says. With La Nueva Violencia, he may not have killed the character, but he has certainly forced it to look in the mirror.
