Passional arrived from Belém's underground in 2023 with a short, prolific burst of doom-soaked death and thrash metal, releasing multiple records in rapid succession including I Cry... Tears of Blood and Sweet Revenge... To Kill You After My Death. Their material orbits crimes of passion, emotional devastation, and the violence that can emerge from betrayal, with extended compositions that sit at the bleaker, slower end of the death-doom spectrum.

Led by vocalist Mario Pastore alongside guitarist Rafael Gazal, Pastore deliver traditional heavy metal rooted in the classic European mold — melodic, anthemic, and built for the long song. Their catalog includes The Price for the Human Sins and the 2017 album Phoenix Rising, the latter released on the Japanese label Spiritual Beast, and the band has appeared on tribute compilations honoring both Helloween and Iron Maiden.

A fixture of the Belo Horizonte extreme metal underground, Pathologic Noise deal in gore-soaked brutal death metal with a relentless low-end attack and guttural vocal savagery. Their debut full-length "Sodomy and Delight on Flesh" (2003) on Cogumelo Records established their punishing formula, which they sharpened further on "Gore Aberration" (2014).

Founded by Mantus and Triumphsword — veterans of the local black metal outfits Mysteriis and Thorns of Evil — Patria weaves South American ferocity with the cold, atmospheric currents of Scandinavian black metal. The band built a substantial catalog across the 2010s, with albums like "Sovereign Misanthropy" (2010) and "Individualism" (2014) drawing notice for Triumphsword's commanding vocals and an unflinching focus on misanthropy and anti-religious darkness.

Patriarchy was a black metal project from Buenos Aires that operated briefly from 2019 until splitting up not long after, existing entirely within the shadows of Argentina's substantial but largely unsung black metal underground. Buenos Aires has produced a diverse range of black metal acts across the decades — from the raw, primitive hordes of the 1990s who absorbed the Scandinavian second wave almost in real time through underground tape trading, to more recent projects exploring atmospheric, ambient, and post-black metal territories. The name Patriarchy, deployed by a black metal band, sits in an interesting space: it could represent a straightforward adoption of dark thematic imagery common to the genre, an ironic or critical gesture toward social power structures, or simply a provocative moniker in the tradition of Argentine black metal bands who favor confrontational names. Black metal in Buenos Aires has historically operated through small dedicated zines, tape labels, and underground shows — a world largely invisible to the mainstream music press but fiercely self-sufficient. Patriarchy's brief existence and subsequent dissolution follows a familiar trajectory for underground black metal projects globally: intense but short-lived, leaving a limited trace in the public record beyond their Encyclopaedia Metallum entry and whatever recordings they produced during their active period. Their registration with an active Bandcamp URL suggests at least some material exists in digital form for those willing to seek it out.

One of the longer-running voices in the São Paulo hardcore and metalcore scene, Paura emerged in 1995 from members of No-Violence and Garage Fuzz, fusing the DIY ethics of hardcore with heavy metal weight and politically charged lyrics around vegan straight edge and anti-homophobia themes. Their output spans from the 2014 album "Tameless" through to "Karmic Punishment" (2023), maintaining a raw urgency across nearly three decades of activity.

Formed in Londrina around 2019–2020, Payout play speed metal with a raw punk-metal crossover energy drawing heavily from Motörhead, Venom, and Tank. Their 2020 debut demo "First Demonstration" introduced the trio's dystopian lyrical bent and a stripped-back, loud-and-fast approach that keeps the spirit of the original speed metal wave intact.

Pedo — the word is Spanish for 'fart,' and the name is entirely intentional — is a death/thrash metal and punk band from Neuquén, the capital of the Neuquén province in Patagonia, a city that has produced a surprisingly robust metal scene given its distance from the cultural centers of Buenos Aires and Córdoba. Formed in 2014 according to their current incarnation (with earlier activity noted on Metal Archives going back as far as 2007), the band plants themselves in the scatological, horror-inflected corner of extreme metal where bands treat shock value and black humor as legitimate artistic tools — a tradition running from the early grindcore scene through Brazilian death metal and into the Argentine underground. Their lyrical themes of feces, horror, and humor are not merely juvenile provocation but part of a coherent aesthetic that strips away any pretension from the genre, delivering death/thrash with a punk band's lack of concern for dignity or commercial palatability. Neuquén's metal scene has historically been tied to the broader Patagonian metal ecosystem — a region that developed its own distinct identity within Argentine metal, partly through isolation and partly through the influence of indigenous Mapuche cultural elements that some local bands have incorporated, though Pedo operate at the rawer, less ceremonial end of the spectrum. Their current on-hold status suggests the project has stalled without formally disbanding — a common state for underground bands in Argentina's interior, where life logistics and the difficulty of maintaining momentum in geographically isolated scenes often pause rather than end musical projects.

Pedofagia are a brutal death metal band from Rancagua, Chile, formed in 2009. Their 2015 full-length Torturando la Infancia, released through Rotten Cemetery Records, delivers ten tracks of old-school brutal death metal drawing comparisons to Suffocation, Deeds of Flesh, and Cannibal Corpse.