The musical movement of Brazilian thrash metal often gets swept under the rug when discussing the most important eras in heavy metal history. Listeners often turn to American or European thrash metal outfits, and usually stop journeying into Brazilian metal at Sepultura.
When metal fans do this, they ignore the politically charged history of metal in Brazil that ultimately exemplifies metal’s thesis of fighting the powers that be.
Brazilian thrash metal’s origin is generally credited to two of the scene’s underground front runners: Dorsal Atlântica and Metalmorphose. The two released the album “Ultimatum” in January 1985, just under two years after Metallica’s “Kill ‘Em All” was released in July 1983. During this time, other Brazilian bands that would later become titans in the movement like Sepultura and Vulcano were releasing demos and creating names for themselves in local scenes.
While these bands were coming together to create what would become one of the most underappreciated eras of metal of all time, a highly conservative military dictatorship that had existed in Brazil for 20 years was beginning to crack.
The Fifth Republic of Brazil, an authoritarian government led by the Armed Forces of Brazil and backed by the U.S., took control of the country in 1964 after successfully ousting the-President João Goulart. Goulart’s reformist policies, which included increased taxes on multinational corporations and redistributing their unused land to agricultural workers, posed a threat to American business interests, resulting in his desposement and exile.
The military dictatorship that took Goulart’s place lasted until 1985. During the two decades of oppressive rule, human rights violations became widespread. American and British operatives trained Brazilian military officials in methods of torture, which were then used to beat out any opposition to the government.
Censorship was also an integral part of Brazil’s military dictatorship. Everything from music to newspapers to marketing companies were mandated by the Ministry of Justice and the Higher Council of Censorship to be regulated heavily.
Brazilian thrash metal, a movement characterized by its musical and lyrical ferocity, was born out of this censorship. Anger at the Brazilian federal government was beginning to peak in the mid ‘80s, and the country’s upcoming metal scene reflected this rage.
After years of public protests and pushback against the dictatorship, the last military president João Figueiredo signed into law a general amnesty bill, opening the floodgates for democracy to come through. However, the 1980s would still flounder under compounding crises of economic issues like inflation and mistreatment of workers, leading to continued political unrest.
This further molded the movement of Brazilian thrash. Sepultura would go on to break into increased success in the late ‘80s and ‘90s with the thrash releases “Beneath the Remains,” “Arise” and “Chaos A.D.,” but the members committed to political activism. Even as the band propelled into the mainstream with “Roots” and faced the ousting of primary members Max and Igor Cavalera, it would continue to bash fascism and censorship with its music. Albums like “Roorback” and songs like “Black Steel in the Hour of Chaos” (a Public Enemy cover) cemented Sepultura’s legacy of anti-fascism.
Other bands, like ANGRA and Mutilator, remained more underground but kept up the fight against the alt-right. Hardcore punk group Ratos de Porão, mentored by Igor Cavalera in the ‘80s and ‘90s, stood out as one of the rawest musically while also being politically engaged in leftist causes. Their 2022 album “Necropolitíca” is a no punches-pulled critique of former Brazilian President Jair Bolsonaro’s disastrous governance and abject corruption
The art produced in a country at any given time is often a reflection of what’s going on socially and politically. This is undoubtedly true for the Brazilian thrash metal movement; rising out of the strife of military rule and unjust foreign influence, it captured the rage of oppression the people of Brazil faced for decades. Celebrating this history remains a vital task, and listeners cannot forget the power music holds as both a political tool and a lens into the past.
Jackson McCoy is a sophomore studying journalism at Ohio University. Please note that the views and opinions of the columnists do not reflect those of The Post. Want to share your thoughts? Let Jackson know by emailing or tweeting him at jm049122@ohio.edu or @_jackson_mccoy_.
