Founded in 2010 by bassist and vocalist Marcel Ianuck, N.W.77 (Nuclear Weapon 77) play old-school crossover that sits at the intersection of hardcore punk and thrash metal, citing Suicidal Tendencies, S.O.D., Municipal Waste, and Ratos de Porão as key touchstones. The band has been prolific on wax, with releases including the albums Youth Explosion and Nuclear Awake, and the 2025 EP Touching the Terror appearing on CD, 7" vinyl, and cassette through multiple international labels.

This Belém trio — Rodrigo Barros on guitar and vocals, Cosme dos Santos on bass, and Paulo Wallace on drums — deal in fast, working-class crossover thrash with lyrics that swing between urban violence, horror film nods, and a frank affection for cachaça. Their 2015 album De Ressaca no Inferno captures the raw, sweat-soaked energy of the northern Brazilian underground.

Self-described as "deadly corrosive crossover," this Brasília five-piece — led by vocalist Lauro "Zapata" and guitarist Gabriel "Zenön" — released their debut full-length Corrosive Hatred in November 2021, a ten-track assault recorded at Texas Studio. The record blends thrash riffing with hardcore-punk velocity and a powerviolence-adjacent ferocity, with tracks like "Destroy the State" and "Underground is Not a Competition" making the band's antagonistic stance explicit.

Nucleador came out of Sergipe playing uncompromising crossover thrash in the mold of the 1980s hardcore and thrash collision, recording their first EP within six months of forming despite none of the members having prior experience in the genre. They've built a steady catalog since, including the 2014 EP United by the Toxic and the 2021 full-length Back From the Dead, earning a spot at São Paulo's Night of Living Thrashers festival early in their career.

Não Inação is a crossover thrash trio from Mauá whose debut EP Saúde Mental Deteriorada packs five tracks of politically charged aggression into under eight minutes, drawing equally from São Paulo hardcore punk and classic thrash. Tracks like "Falta de Ar" and "Desespero" hit themes of mental deterioration and social pressure with the blunt economy the genre demands.