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PARADOXO
Sociedade EP

Self-released (2018)
Rating: 7/10

I’m glad I got sent this lump of Brazilian thrash from a band that has little history, except for a few digital singles which were released ahead of this EP.

Paradoxo take me back to the sleazy, dirt-coated days of classic underground Brazilian thrash from the 80s, but long before Sepultura ruled the roost. This is the sound of rough ‘n’ ready speedy thrash consisting of hoarse, reaching vocal spews, fizzing yet distant percussive rattling, but above all catchy thrash guitar routes whereby the chords loosely zip at a wild, almost primal pace. However, when the tempo is slowed, the combo still remains a raw, primitive force.

Indeed, there’s a peculiar sense of gang camaraderie, and a suggestion of wild, unkempt hostility as the combo delivers 19-minutes of short, sharp blows via the clanking torment of ‘Invasão’, the zany flailing of ‘Criador Criatura’, and the curiously entertaining thrashcore blitz of ‘Massa de Manobra’.

Yes, there is that hardcore element; a punky attitude which we’ve come to expect from the South American scene as it burgeoned decades ago. So what Paradoxo are doing is carrying on that native tradition of manic crossover. It’s just a shame that the production side has reduced Marcelo Victor’s drums to sound like a madman whacking some cardboard boxes.

But look beyond those almost amateurish and yet expected flaws, and you get ten contagious numbers built upon some excellent catchy riffage, embryonic bass grinds and a dual vocal mugging that leaves one feeling both scared and amused.

A track such as ‘1992’ is a prime example of the fury this band has encased within its gloriously mucky and yet spiteful sound, while ‘Mordaça’ adds extra soil to that squalid bass of Reuber Tadeu and that fetid guitar tone from Nalber Silva.

If you have 20 minutes spare then I suggest you slap this one on, especially if you’re looking for a riotous kick to the balls, because as each composition hurtles by you become increasingly more engrossed and appreciate the subtle changes in tempo too as the speedy, razor guitar sound suddenly revels in a dirtier, streetwise groove.

Matheus Henrique’s vocal coughs are a welcome addition too, providing a meaty, yet urban backbone – the final result being a chaotic mish-mash of cult fellow countrymen Executer, Anthares and The Mist, only with less darkness and more crossover aspects.

Neil Arnold

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