Cleiton Carvalho — Brazilian musician — works in the national metal circuit, in bands and projects on the scene. Brazilian metal has a geography of its own. São Paulo concentrates most of the activity — studios, venues, independent labels — but there are settled scenes in Belo Horizonte, Curitiba, Porto Alegre, Rio de Janeiro and the Northeast, each with its own audience and circuit. That dispersal has consequences. A band not based in São Paulo faces travel costs that make frequent touring unviable in a country of continental dimensions; the result is that many regional scenes work in relative isolation, with bands that have a solid local audience and little national circulation. Digital distribution changed part of that over the last two decades, letting material recorded anywhere in the country reach listeners anywhere else. But the live show — which is where metal sustains itself financially — remains limited by distance.
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