OUr HISTory
2022
The, bands inception...
Kannibal was founded in April of 2022, right after Francisco's third release from the mental hospital and a final split from the band Skin. That project still exists in name, but it was time to build something raw, personal, and permanent. Kannibal came out of necessity—a need to start fresh and take full control of a professional creative career. The first riffs weren’t tracked in a studio—they were hammered out in a garage, setting the tone for a sound built on isolation, urgency, and total independence.
Alive, yet no traction...
In 2022, Kannibal was officially born—but the project didn’t yet have the momentum it carries today. At the time, the focus was survival: constantly searching for work, juggling instability, and trying to stay afloat. Even though the band had already been named and its now-iconic logo was created—still used across releases and merch today—it wasn’t getting the attention it deserved. The foundation was there, but the energy wasn’t yet fully committed. That year marked the inception, not the ignition. No shows, no real catalog, no career traction—just the early outlines of something that would later evolve into a full-force creative machine.
The, Devils frequency...
In 2022, Kannibal began exploring the deeper sonic impact of tuning frequencies, marking the start of a personal journey that would shape the project’s sound for years to come. That year, 432Hz became the first alternative standard used—chosen after hearing claims that the conventional 440Hz was “the devil’s frequency.” Whether myth or resonance, the shift to 432Hz laid the foundation for a broader search for tonal truth. Over time, Kannibal experimented with every frequency between 420Hz and 450Hz, chasing the emotional and physical response each one could evoke. Today, the band’s music is tuned to 428.96Hz—a precise choice that reflects years of refinement, intention, and a commitment to crafting sound that hits deeper than convention allows.
2023
Sweet home alabama...
In 2023, Kannibal relocated to Alabama to live alongside his grandmother, settling into a small house purchased by his parents on her property. Though the year brought no live shows or major public releases, it marked a deeply productive chapter behind the scenes. Isolated from the noise, Kannibal developed his first fully realized concept album, ...For All The Living, laying the groundwork for a more expansive creative vision. That momentum carried forward with Art of the Abyss, and culminated in the creation of Kannibal III—a defining release that pushed the project’s sound and identity into sharper focus.
The, God frequency...
Kannibal’s time in Alabama marked a turning point—not just in output, but in identity. It was there that the project’s style, image, and philosophy were sharpened into something unmistakable. Hours were spent practicing to Metallica tracks, deepening a connection that had always been present but now became immersive. Every album, every vocal line, every riff—learned, internalized, and performed until it became second nature. That period wasn’t just about skill-building; it was about aligning with a legacy while carving out a new one. Alabama was also where Kannibal first discovered 428.96Hz—a frequency that would become the sonic signature of the project moving forward, chosen for its resonance and emotional depth.
2024
San Bernardino...
In April 02, 2024, Francisco turned 21 and made a pivotal return to California after a year of isolation and creation in Alabama. Offered the chance to come back home by his mother, he boarded a Spirit Airlines flight from Atlanta—just as he had done once before—and landed in Los Angeles. San Bernardino, where the next chapter began. Settling into his mom’s house, the energy shifted. It was there that the first renditions of ...For All The Living took shape, marking a new level of focus and intensity. Among those early sessions came the birth of “Black,” a track that would go on to define the emotional core of the album and solidify Kannibal’s evolving sound.
The, Great Southern Trendkill...
From May through the end of July 2024, Francisco lived in Hemet, California, in a rented room arranged by his mother inside a house owned by a woman named Beth. That stretch of time became a crucible for musical growth and deeper identity. It was here that Kannibal’s connection to Pantera evolved—from admiration to something more personal, almost fraternal. The influence of Dimebag Darrell took center stage, especially his use of 425Hz tuning. Though no official recordings were made in that frequency, Kannibal immersed himself in it—studying why Dime chose it, experimenting with it, and retuning songs to match its feel. Pantera’s catalog became daily ritual, with nearly every track played and dissected. The practice extended to Megadeth, GBH, and other foundational acts, all filtered through the lens of frequency exploration and raw performance. Hemet wasn’t just a place to stay—it was a lab, a dojo, and a proving ground.
The, Serpent That Kills...
In Hemet, California, the foundation was laid for what would become one of Kannibal’s most defining works: The Serpent That Kills. Though the album wouldn’t be fully produced until a year later, its iconic riffs were born in that rented room—raw, unfiltered, and charged with intent. The project drew heavy influence from Pantera’s The Great Southern Trendkill, channeling its aggression, chaos, and emotional volatility into a new form. Hemet became the birthplace of a sound that would later solidify Kannibal’s identity, with The Serpent That Kills standing as a staple in the catalog—a brutal, deliberate statement forged in isolation and sharpened by purpose.
Homelessness was lurkin'...
During the summer of 2024 in Hemet, Francisco was locked in a daily grind—relentlessly searching for work, filling out applications, handing out resumes in person, taking interviews, and fielding phone calls. Despite the effort, no job ever landed, and the weight of instability began to press harder. Amid that chaos, July brought a brief glimpse of expansion: Kannibal officially welcomed its first members—a drummer and a lead guitarist—who joined remotely and were considered part of the band for about a month. Though they were never met in person, their involvement marked the first attempt to grow Kannibal beyond a solo project. But life had other plans. Mounting instability and the looming threat of homelessness forced a reset, and both members were let go. The vision remained, but the foundation had to be rebuilt—again.
Hollow, Metal On Demand...
In early August 2024, Francisco was offered a job at his father’s longtime workplace—Hollow Metal On Demand in Fontana, where his dad had worked since the day Francisco was born. Accepted into the warehouse department, it felt like a step forward, a chance to stabilize and build. But after just one week, the reality of forced overtime and physical fatigue made the position unsustainable, and he had to walk away. That same day, his mother spoke the first words of a future that loomed quietly in the background: homelessness. Though it wouldn’t arrive until a full year later in 2025, the warning echoed. Yet that day also brought something else—a companion named Layne, a cat named after Layne Stanley of Alice in Chains, whose first song heard was “Rooster.” Layne became more than a pet; he was a constant presence through the creation of The Art of Death, Acid Is Disposable, Vehemence, Angels, Artistic Vision, and Artistic Vision II. Through the chaos and the climb, Layne was there—witness to the struggle, the sound, and the paradise.
Layne, Corrales...
In early August 2024, Francisco was offered a job at his father’s longtime workplace—Hollow Metal On Demand in Fontana, where his dad had worked since the day Francisco was born. Accepted into the warehouse department, it felt like a step forward, a chance to stabilize and build. But after just one week, the reality of forced overtime and physical fatigue made the position unsustainable, and he had to walk away. That same day, his mother spoke the first words of a future that loomed quietly in the background: homelessness. Though it wouldn’t arrive until a full year later in 2025, the warning echoed. Yet that day also brought something else—a companion named Layne, a cat named after Layne Stanley of Alice in Chains, whose first song heard was “Rooster.” Layne became more than a pet; he was a constant presence through the creation of The Art of Death, Acid Is Disposable, Vehemence, Angels, Artistic Vision, and Artistic Vision II. Through the chaos and the climb, Layne was there—witness to the struggle, the sound, and the paradise.
Loma, Villas San Bernardino...
After leaving the warehouse job in August 2024, Kannibal faced the looming threat of homelessness—but his mother, manager of the Loma Villas apartment complex in Loma Linda, stepped in. Instead of letting him fall through the cracks, she gave him access to vacant units in the complex, offering a rare gift: time, peace, and creative freedom. Over the next year, from August 2024 to September 2025, Kannibal finally had the space to treat the band like it deserved to be treated—professionally. It was here that a wave of albums were born: The Art of Death, Acid Is Disposable, Vehemence, Angels, Artistic Vision, Artistic Vision II, and Chicago. Alongside them came remastered and reimagined versions of earlier works—Kannibal I, Kannibal II, Kannibal III, ...For All The Living, Art of the Abyss, and The Serpent That Kills—each refined with new clarity and intent.
Throughout it all, Kannibal wasn’t alone. His first cat, Layne—named after Layne Staley of Alice in Chains—was there from the beginning, joined later by Sarrah (Layne’s mother) and KI Gakyrah Corrales. These companions became part of the rhythm, the ritual, and the atmosphere. Weed was part of the process too—sometimes found in the dumpsters of the complex, adding a strange but fitting layer to the DIY grind. Loma Villas wasn’t just shelter—it was the studio, the sanctuary, and the stage for a year of transformation.
Saint, Mary's Village...
On December 29th, 2024, Francisco faced his first real glimpse of homelessness. With nowhere stable to go, his mother arranged for him to enter Saint Mary’s Village—a Christian Catholic homeless rehabilitation facility in San Bernardino. For one month, this place became both refuge and revelation. It was here that Kannibal grew closer to his Lord and Savior, Jesus Christ, deepening the spiritual foundation of what had always been a Christian band. Surrounded by fellow residents like Darek, Kevin, Chris, Demarcus, Bobby, and Ali—each carrying their own stories of prison, addiction, and survival—he found community, brotherhood, and purpose.
The facility offered structure: adult school, Alcoholics Anonymous meetings (in person and online), frequency classes, homework, and spiritual discipline. Meals were blessed, prayers were shared in line, and the basketball court became a sanctuary of rhythm and release—especially during full-court games with music blasting. Chris, who later introduced Francisco to the drill music scene, earned the nickname “Never Miss Chris” for his transformation on the court. Through him, Francisco discovered artists like King Von, Lil Durk, Pooh Shiesty, Young Thug, G Herbo and more—adding a new layer of influence to his evolving sound.
The music room became a sacred space, and on the day Francisco arrived, a new drum kit was delivered. He helped set it up with Ali, another soul who lives in his heart to this day. But the stay came at a cost: Layne and Sarrah, his beloved cats, had to be let go in Southridge Fontana. Layne had been raised from a kitten, and their departure marked a painful end to a chapter filled with love and loyalty.
Despite full participation and undeniable productivity, Francisco was abruptly dismissed by the head of the facility, told “this isn’t working out”—a decision that ignored the truth of his effort and impact. Left to face the streets, his mother arrived in defiance, ready to sue the facility. But Kannibal chose not to pursue it. The experience, though harsh, became another crucible—one that shaped the man, the music, and the mission.
KI, GAKYRAH CORRALES...
After being kicked out of Saint Mary’s Village, Francisco's mother once again stepped in—offering refuge in the vacant apartments of Loma Villas, where the creative flame could reignite. Inspired by his friend Derek, who had recently gotten married, Francisco began envisioning a future of his own, building a wedding playlist entirely from the soulful catalog of B.B. King. The blues legend’s guitar work and emotional depth struck a chord, leading Kannibal down a new path of musical discovery. From B.B. King, he stumbled into the world of King Von—drawn by the name and the raw storytelling of Chicago’s Southside gang culture. That influence sparked the early vision for Chicago, an album that would become a staple in Kannibal’s discography, rooted in pain, survival, and Bloodhound Lil Jeff.
During this era, a whiskey-fueled night led to a fateful encounter with new faces—and the arrival of a cat named KI Gakyrah Corrales, named after KI Gakyrah Barnes, a notorious female gang member from Chicago’s Southside. KI wasn’t just a pet; she became a symbol of the time, a companion through the creation of Chicago and the struggles that followed. Her presence marked a new chapter—one steeped in blues, drill, and the unfiltered reality that shaped Kannibal’s evolving sound.
