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Bio

I was born and raised in between Minas, and Rio.

My path in art began as a child, like many, but also by carring it out in adult life.

When I got to Minas (about 7) I found no one interested in the kind of art I liked, which included comics by Marvel, DC and Vertigo, but also the phenomenal Heavy Metal my uncle used to read, and began hanging out with musicians. When I turned 15 decided I wanted to play: first the electric guitar and later the classical.

I lost touch with music theory right after the short stay in Rio, from 2008 to 2009 but kept developing improvisation out of my own my will of becoming better at it.

Vinicius Perez recommended a book I couldn't read at full, but passed some exercises that helped me develop on the idea of counterpoint and independency of the fingers.

After nearly 20 years as an amatour I started summing courage to become a professional and at 2024 started studying music theory again.

I had classes with Rafael Sanches and at the Conservatorium (Jucelino Kubitcheck) he lectures. His teachings made me wanna go for a shorter term development, one that was incisive and striking, (when I enrolled Fica a Dica Premium, by Nelson Faria).

Latelly I'm concercened with being able to improve in repertoir and music notation, which I comprehend as extended improvistion (only on paper).

I've been releasing music since 2025 and currently look for small bars I can play at.

First Photo Shoot

Jan 2025 | Luyz Renó

Albums (click the covers to learn about)

Color Theory was recorded with my cell phone in Rio when I was recovering from exhaustion from work in 2023. Is my most rough release, also the most experimental.

Toque Invisível is the "crowning of my dignity", when I finally recorded with a better setup, even there was little treatment to each track and didn't know much about recording, the album where I showed my influences and inspirations.

Artefatos is a collaborative album, counting with features from Cecilia Cecilina (vocals - Antiquário), João Vitor Junqueira (mixing - Antiquário), Thomaz Alves (bass- , Pedro Torres and Zé Abreu on the mastering. Is about my memories at the coast of Rio in my childhood and youth. More granulated than the previous, and a more thoughtful process overall.

Jam in UNIFEI (Federal University of Engineering from Itajubá)

Unfortunatelly I don't have the pictures of this gig, but is one of my first shows after Openess.

I played live about other two times besides this.

Openess - First show

2025

I played in my room for about 20 years, and the only ones who saw me play were family and very close friends.

I had to tame stage. Once I step in I just go, but getting familiar with it makes it more welcoming with time.

This time I did the cover myself, after a very long time away from paints. It's very plain, but captures the spirit I had at the time, fearing something might go wrong.

Get to know me better here:

About

A few drawings from a sketchbook

Before I started writing music I tried to come up with a writing system consisting on small pictograms, to get a sense of what I inteded to with a musical idea by the time of the execution. This is somehow a process I'd like to explore further on, maybe mixing it with traditional music notation.

These drawings relate to my background (childhood, family...) and I wish to keep them for the future, as much as in my covers and creative process.

The image above the text was my first attempt of writing music my own way, small pictograms that held the initial insight for how I wanted to carry out a particular song, under a particular title. I hope I use this more often eventually.

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These pictures are only to show how present drawing is in my practice. I sometimes draw some as "enlightments" before of after text, to strenghten the idea visually, or to show myself the mood I'm in.