Iron Trash

Iron Trash hail from Belo Horizonte, the Minas Gerais capital that is arguably the single most consequential city in the history of extreme metal in the Southern Hemisphere. Belo Horizonte is the cradle from which Sepultura crawled in 1984, where Sarcofago detonated I.N.R.I. in 1987 to invent what most of the world now thinks of as first-wave black metal, and where the Cogumelo Produções Warfare Noise compilations broadcast Chakal, Mutilator, Holocausto, and Sextrash out to a stunned international tape-trading underground. For any band styling itself black/death and operating out of BH today, that lineage is unavoidable gravity — and Iron Trash plant their flag squarely in the dirtiest, most blasphemous corner of that inheritance. Their sound traffics in the bestial, war-metal-adjacent strain of black/death that has long been a Brazilian specialty: rapid-fire tremolo riffs colliding with d-beat propulsion, vocals rasped from the bottom of the throat rather than shrieked from the top, and a production aesthetic that prizes raw atmosphere over polish. The band sits comfortably alongside the rougher edge of Minas Gerais' modern underground, the kind of project you find on tape-only splits and DIY compilations rather than slick streaming algorithms — a continuation of the tradition Cogumelo helped codify in the mid-'80s. Where Sarcofago and Mystifier turned Brazilian extremity into a primal religious experience, Iron Trash play the role of younger torchbearers: rougher, less concerned with myth-making, more concerned with maintaining the underground's filthy heartbeat. Place them in conversation with other regional black/death acts like Goatpenis, Genocidio, and the broader Brazilian Ritual Records orbit, and Iron Trash come into focus as one of the working-class units sustaining a scene that has never lost its capacity to startle.