In tandem with the already mythic Sepultura, Sarcófago-whose name means “sarcophagus”-belonged to Brazil’s earliest death-metal contingent, a rough-hewn crew that erupted from the country just as it shook off years of military dictatorship. Although the domestic metal circuit remained tight and modest, Sarcófago set themselves apart immediately by rejecting prevailing norms. They ranked among the most ferocious and remote of the nation’s first death-metal standard-bearers, edging toward-and, by some accounts, helping shape-the sound later labeled black metal, all while folding in punk-rock sensibilities that clashed with prevailing expectations. This unorthodox stance never translated into mass appeal, yet it ensured the group could never be overlooked. Guitarist and vocalist Wagner Lamounier, known to associates as Antichrist, launched Sarcófago in Belo Horizonte, Brazil, during 1985 after his abrupt dismissal from the fledgling Sepultura, thereby sparking a long-running feud. Early membership proved unstable, but by late 1986 the band had produced three demos-Satanic Lust, Black Vomit, and the notorious Christ’s Death-that spread through the tape-trading network and cultivated a small, devoted audience. Bassist Gerald Minelli (Incubus), guitarist Zéber (Butcher), and drummer Eduardo (D.D. Crazy) solidified the lineup, allowing Sarcófago to ink a deal with Cogumelo Records, which released the debut album I.N.R.I. in July 1987. From the outset, unlike most contemporaries, Sarcófago infused their raw death-metal assault with punk attitudes, a stance visually underscored by Lamounier’s meticulously styled Mohawk on the cover; the hybrid earned a measure of crossover respect yet also provoked violent clashes, including an enduring rivalry with authentic punks Ratos de Porão, at the band’s infrequent live shows. Reduced to a trio featuring new drummer Joker, Sarcófago delivered the sharply honed Rotting in 1989. Widely regarded as their crea