How Eder Anaya handled every role in his ambitious deathcore project

When Eder Anaya set out to create Inherited, he wasn’t just starting a deathcore band. The Mexico City-based art director was building something closer to a production company – a creative vehicle where he could merge his film industry experience with his passion for heavy music into a narrative-driven project. The debut EP, ‘Me, Myself and Sam,’ takes its cues from serial killer documentaries. Each of the three tracks explores a different killer, but rather than simply soundtrack these personas, Anaya has structured the project to create an interactive experience. The social campaign invites audiences to uncover each character’s identity through carefully embedded clues, transforming passive listeners into active participants in an unfolding investigation. “I’m constantly involved in movies and series, and through that experience, I’ve learned how to build meaningful interactions with audiences,” Anaya explains. “This project proposes a new way of approaching music – one that focuses less on volume and more on expanding a continuous narrative. This approach strengthens the connection between storytelling, audience interaction and music itself.” The first campaign introduces this concept through a promo video that borrows from Netflix documentary aesthetics. The sound design conceals subtle references to David Berkowitz, while visual elements like an engraved bullet contain additional clues linked to the name ‘David.’ These aren’t gratuitous details but entry points into a larger detective story where the audience pieces together identities and motivations. Anaya deliberately separates the band from the characters to establish that these are fictional narratives, not personal confessions. He frames it like a film production company: one creative umbrella telling different stories. The band’s communication adopts a detective’s analytical point of view, while the songs themselves are told from the characters’ perspectives – fictional accounts grounded in real research. “Through this, I’m building a 360° storytelling experience – one that blurs the lines between music, narrative and audience participation,” he notes.