Beiramaquina is an experimental music project: home-recorded electronic music built from synths, drum machines and computers. Glitches, noise, minimalism. "É como desaparecer e voltar em outra dimensão." The line the whole thing turns on, and it runs through the album, the bio and the visual world.
It's also the closest thing I have to a product I own outright. An experiment doesn't reach anyone on its own, so this one needed the same layers a launch needs: a release plan, an identity, a name and a verbal world, cover art, motion, film, a site, and distribution across streaming platforms. Music production, art direction, brand design, motion, editing and front-end, all sequenced so the record actually arrives instead of sitting on a hard drive.
That's the reason it belongs next to the client work. Same disciplines, same planning, no committee to answer to. Every decision is a design decision I made and then had to live with.
Modus Ofeganti is the debut album. Eight tracks, released August 2025. Recorded almost entirely at home, with a piano take at Estúdio Casa Embura and vocal overdubs at Estúdio Índigo Azul. Mixed by Klaus Sena, mastered by Arthur Joly.
The release shipped as three artifacts, in the order a listener meets them: the cover you enter through, the motion behind the tracks, and the site the album lives on.
Spotify Canvases are the short vertical loops that play behind a track while it streams, and I made one per track. Black-and-white film-style photography, harsh cuts, grainy texture, each loop tuned to its song. The train sequences were shot across several cities in Japan.
beiramaquina.com is the project's public home. Minimalist, typography-forward, held together by an ASCII/glitch header pattern that runs across every page. Designed to hold the work and get out of its way. The music and the visual world do the talking.
Modus Ofeganti didn't arrive out of nowhere. Two earlier releases built the vocabulary the album consolidates.
The second release. Three tracks. "Dentro de si," "Nenhuma pele se repete," "Terra gira", with guest work from Marcelo Cabral, Paola Lappicy, Allen Alencar and USHAN. The EP where the project's language sharpened: shorter, more focused, the aesthetic starting to settle.
The first release. Five tracks including "Autovigilante". The project's first music video and the moment the visual practice started running alongside the music. Guest work from Erneste, Marcelo Cabral and Xavier. This is where Beiramaquina became a public project.
The music videos run alongside the music as their own body of work. Same visual world as the covers and the Canvases, same hand, same register. Autovigilante is where that practice started.