Rafael Galvão — Brazilian musician — works in the country's metal circuit. There is a characteristic of Brazilian metal that rarely appears in discussions of the genre: its stylistic diversity. Brazil produced death metal of international reach (Krisiun), thrash that redefined the genre worldwide (Sepultura), melodic power metal with a European audience (Angra), and keeps active scenes of black metal, doom, progressive metal and hardcore. That breadth is uncommon for a country without a settled industry in the sector. Peripheral scenes generally specialise in one or two subgenres; the Brazilian one never did, and the result is an output covering practically the whole spectrum of contemporary metal. What unifies these strands is not style but mode of operation: independent production, financing by the musicians themselves, direct circulation with the audience. It is a scene defined less by what it plays than by how it sustains itself.
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