Their first album was released in 1983 and was titled Crucificados pelo sistema. Released on the Ataque Frontal label, it was one of the best-selling hardcore albums to come out of the country, and was soon considered a punk classic worldwide. The line up was João Gordo (vocals), Mingau (guitar – later in many punk and pop bands in Brazil, currently playing in Ultraje a Rigor), Jabá (bass) and Jão (drums). Soon after, with the fall of the São Paulo punk scene (because of associated gang violence), the band split up and since then João Gordo has been accused of selling out and betraying the DIY ethics of the hardcore punk movement for several alleged reasons; he has said, "I'm a traitor since 1983, because I told the guys I played hardcore, not punk. Then, I got labelled.(...)That's a stigma".[1]
Initial crossover thrash era
In 1985, RxDxPx came back, but with a different line up and sound. They brought thrash metal to their music, influenced by bands such as Slayer, Exodus, Kreator and hardcore bands around the world that were also transitioning to a more thrash metal sound, like Suicidal Tendencies, D.R.I., English Dogs, Cro-Mags, Agnostic Front and others (including Brazilian bands such as Lobotomia and Armagedom). Jão switched over to playing guitar, and an old punk named Spaghetti (who later adopted a thrash metal sound) replaced him on drums. Subsequently, they released the Descanse Em Paz album on Baratos Afins in 1986.
With their new sound, they began to associate more with heavy metal bands, becoming friends with longtime RxDxPx fans Sepultura and other bands of the Brazilian 1980s metal scene, including Korzus and Anthares. Their next studio release with Baratos Afins Records, 1987's Cada Dia Mais Sujo e Agressivo, was also released in an English-language version (Dirty and Aggressive) (the band feared that their English was so grammatically inaccurate that many of their native English speaking fans might ridicule their translated lyrics).[citation needed] This release continued the band's D-beat drum tempos.
In 1989, they signed to Roadrunner Records at the urging of Igor Cavalera of Sepultura, who played one of the band's tapes for the label's executives. RxDxPx then went to Germany to record their next studio LP, Brasil. With Harris Johns of Voivod and Tankard producing, the band's production quality improved substantially in contrast to their previous releases; the instrumentation was noticeably more technical.
In 1990, they returned to Germany to record their last album with the 'classic' line-up of João Gordo, Jão, Jabá and Spaghetti. With Harris Johns acting again as producer, their next album titled Anarkophobia was met with criticism by some fans for being the band's most metallic release to date, having considerably more complex and lengthy song compositions and more technical musicianship. Nevertheless, Anarkophobia increased their profile within the worldwide metal scene of the early 1990s.
But in mid-1991, they had their first line-up change in years, with Spaghetti leaving the band, citing that he had "been tired of the musical life".[citation needed] They auditioned several drummers to replace him, including Beto Silesci from Korzus, but the band decided that Silesci's style was too metal for the new direction they were planning to pursue. Silesci was in turn replaced with Boka of the Santos Beach thrash/death metal band Psychic Possessor. In 1992, RxDxPx released its first official live album, called Ao Vivo, with a corresponding music video for the song "Aids, Pop, Repressão" receiving heavy air play on Furia Metal of MTV (the Brazilian equivalent of Headbangers Ball).
At the decline of the thrash scene, under tension and personal problems (Jabá left the band and they had a heavy drug problem), they entered into the studio in 1994 to record their only 'all lyrics in English' album, called Just Another Crime In Massacreland. The album suffered a thin production and a low promotion by the label, and it was a hard time in the life of RxDxPx.[citation needed]
Return to hardcore punk
After the departure of Jabá, the band had several different bass players and recorded a studio album with only punk and hardcore covers called Feijoada Acidente?, a play on the Guns N' Roses album "The Spaghetti Incident?". (Feijoada is a traditional food from Brazil, a stew based on beans and pork.) There were two versions of this album: one covering only Brazilian bands such as Olho Seco, Lobotomia, Garotos Podres, among others; and one covering only non-Brazilian bands such as G.B.H., Black Flag, Anti-Cimex, Minor Threat, among others. At this time, Walter Bart (who used to play in a punk band called "Não Religião") and "Pica Pau" (Portuguese for woodpecker), who stayed in the band until 1999, played bass.
Released in 1997, Carniceria Tropical marked a return to hardcore and Portuguese lyrics, and the band regained their former success. The same year, João Gordo started to work as a VJ for MTV Brasil.
In 1999, the bassist Cristian "Fralda", who used to play in the punk rock band Blind Pigs joined the band, and they entered into the studio to re-record their first album, and called this album Sistemados Pelo Crucifa (a play on the original album title, "Crucificados Pelo Sistema"). The front cover was designed by the Korzus bassist, Dick Siebert.
Return to crossover
In 2002, they released the Onisciente Coletivo album, and came back to be more friendly with thrash metal, mixing the 1980s with 1990s faces. The bassist Cristian "Fralda" left to join the old hardcore/crossover/thrash band Lobotomia. In his place entered an old underground musician, the bass player Paulo Júnior, who still plays with his hardcore band called "Discarga" and guitarist of "Point of no Return".
In 2006, they released Homem Inimigo Do Homem.
On 13 August 2013, Ratos de Porão announced on their Facebook page that they were working on a new album. Entitled Século Sinistro, the album was released on 27 May 2014.
Another eight years passed until the release of their upcoming eighth studio album, Necropolítica, on May 20, 2022.
Aids Pop Repression
Ratos De Porão Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O sexo é apenas uma forma de morrer.
As drogas representam um caso policial
Aquela antiga frase não dá mais para falar.
Os tempos mudaram, agora é o fim.
Um punk vira crente pra conseguir a salvação.
Aquela coisa boa você nunca vai achar.
OK!
SEXO, DROGAS E ROCK`N ROLL!
Quem está nascendo agora isso não vai conhecer
TEMOS QUE NOS PROTEGER
Os prazeres dessa vida já viraram maldição
AIDS, POP E REPRESSÃO.O QUE É QUE EU FIZ PARA MERECER ISSOOOOOOO!
(Repete 1ª estrofe)
The lyrics of Ratos De Porão's song "Aids Pop Repression" are a critique of the Brazilian commercial rock scene, and the destructive behavior it promotes. The song starts by denouncing Brazilian rock music as a commercial farce, and goes on to portray sex as a form of death, and drugs as a criminal matter. The phrase "sex, drugs, and rock and roll" is referenced, but the band argues that those pleasures have become a curse, due to the rise of AIDS and the repression imposed on marginalized groups.
The lyrics also allude to a punk who converts to Christianity in search of salvation but still drinks alcohol to numb the fear of contracting the disease. The song goes on to say that the good things in life are hard to find, hinting at the bleak outlook for Brazilian society. The chorus repeats the phrase "AIDS, POP, and repression," emphasizing the idea that these three elements are intertwined and that society is suffering as a result of them.
Line by Line Meaning
O rock brasileiro é uma farsa comercial.
The Brazilian rock scene has lost its authenticity and has become all about making money. It's no longer about the music.
O sexo é apenas uma forma de morrer.
Unprotected sex can lead to contracting HIV/AIDS, which can be a death sentence.
As drogas representam um caso policial
Drugs have become a legal issue, rather than a personal choice. People are criminalized for using them.
Aquela antiga frase não dá mais para falar.
The phrase 'sex, drugs, and rock and roll' is outdated and no longer reflects the realities of modern society.
Os tempos mudaram, agora é o fim.
Times have changed and we can no longer continue living recklessly. The consequences of our actions have caught up to us.
Um punk vira crente pra conseguir a salvação.
Some people turn to religion in order to find hope and a way out of the chaos they find themselves in.
Emborracha o danado para não infectar.
Some people resort to getting drunk or high to prevent themselves from contracting HIV/AIDS, as they believe it will lower their inhibitions and make them less likely to contract it.
Aquela coisa boa você nunca vai achar.
You will never find true happiness or satisfaction if you continue down a path of reckless behavior and self-destructive choices.
OK!
Alright, let's move on to the chorus.
SEXO, DROGAS E ROCK`N ROLL!
This phrase is no longer relevant and needs to be retired, as it glamorizes dangerous behavior.
Quem está nascendo agora isso não vai conhecer
The younger generation will not understand the dangers and consequences of this lifestyle, as they did not live through the worst of the HIV/AIDS epidemic.
TEMOS QUE NOS PROTEGER
We need to take care of ourselves and make responsible choices to protect ourselves and others from harm.
Os prazeres dessa vida já viraram maldição
The pleasures of life have become a curse, as they can lead to dangerous and life-threatening consequences.
AIDS, POP E REPRESSÃO. O QUE É QUE EU FIZ PARA MERECER ISSOOOOOOO!
AIDS, popular culture, and repression are all factors that contribute to the difficulties and challenges faced by society. The singer questions why they deserve to face these challenges.
(Repete 1ª estrofe)
The first verse is repeated to emphasize the message and drive home its importance.
Contributed by Callie W. Suggest a correction in the comments below.
@lodybueno
Ao vivo chega ser melhor que no disco. SENSACIONAL!
@TheNilobanger
Lody Bueno. Com certeza,ao vivo os caras distroem demais
@Danifull100
ALTO, RÁPIDO E AGRESSIVO! Padrão de qualidade!
@danilohc_83
pesado como sempre ! sem mídia e sem mimimi Hardcore punk underground... td junto💀💀💀
@Ildembergsilva1985
Não adianta a galera retrucar os comentários de gente que não sabe pensar, enquanto muitos ouvem o "barulho" muitos vêem autenticidade nas letras, muitas das verdades que o sertaneja, funk, pop rock e outros estilos não mostram. Pra mostrar a verdade tem que dar a cara a tapa! Foda-se quem não gostou!
@gibiarts
nao gosta do vocal vai curtir fresno porra o gordo é fodastico
@SPtodeboa
Esses caras são do caralho, melhor banda brasileira!!!
@johnmcaulay5938
These guys are great.
@dollypistolaco
A letra da música kdksksijdjdkjdjdhhsisjdnnsbsvgdgsbsnjsmdkjsggsjsnndhdhsiiskdnjsoskdnbdjdhggjskksndbeieindbdhsodndbbdhdidksnejdhd
@timaocorinthiano1991
Não escuto muito Rock mais eu admiro todos os estilos sendo bem tocado mais dessa vez eu posso dizer pra ser Rock tem que ser pesado e no Brasil aqui tem isso é uma aula para os gringos kkkk