Alexandre Cruz "Sesper"
Santos/SP (Brasil), 1973. Lives and works in Tel Aviv (Israel)
Alexandre Cruz Sesper's work happens in the fusion of various techniques including collage, painting, drawing and assembly, through which he articulates textured and intricate forms and compositions. A self-taught artist formed in the independent music scene of the 1980s/90s, Sesper plastically executes the concept of montage through the overlapping of material layers, re-signifying references and the appropriate contents of mass media and personal archives, operating between the social and the private. These works, oscillating between bi- and three-dimensionality, sometimes take on the appearance of a showcase, since they are display boxes of images and objects which trigger each other in a symbiotic relationship. His (half) human figures, formed through the accumulation of recoded debris, expose the excesses of a hyper-industrial society that has levelled everything and reduced simulacrum and product to something that can be discarded. Scientific illustrations of the physiology of the human body appear repeatedly in Sesper's work, as well as the clash of colours and the printed word, elements which lead to an alternating dialogue between conscious and unconscious modes of expression and reception, assuming a deliberate tension between order and chaos. The staircase, another recurring element in his works, operates as a bridge between the abstract and the figurative: at the same time it represents a recognizable shape, leading us less up and down and rather through the subjective spaces of the work itself. In his most recent work, Sesper explores a growing departure from the referent, a deliberate path towards greater abstraction. In resins, which seem to freeze shapes and times, appropriate memory becomes the protagonist. In all his incursions however, he does not abandon a certain characteristic: the role of the artist as a collector and reorganizer of materials and archives.
Alexandre Cruz, born in 1973, is a self-taught artist who began his artistic practice in the 90s, involved in the subcultures of hardcore, independent publications (zines) and skateboarding. After being a member in bands OVEC, Psychic Possessor and Safari Hamburgers, he started the band Garage Fuzz in the 90s, of which he is still a member. Living in São Paulo, he created street interventions adopting the pseudonym Sesper, while also working for brands and designing album covers for independent and major labels. In 2009, he directed the documentary RE: Board, the result of extensive research into the history of art on Brazilian skateboards. As a visual artist, from 2008 to 2010, he worked both within and outside Brazil in collaboration with other artists, integrating the collective Famiglia Baglione. He has participated in several exhibitions in institutions such as the Rio Art Museum (MAR) and Santader Cultural and has had solo exhibitions in art galleries, such as the exhibition Reprovado (LOGO Gallery, 2013). His works are included in institutional collections (MAC USP, Itaú Cultural and Figueiredo Ferraz Institute) and prestigious private collections. As a curator, he was a founder of the Most exhibition space, co-director of the itinerant exhibition TRANSFER and curator of the exhibition Não temos condições de responder a todos, produced in 2019 at SESC Consolação, in which he exhibited his own collection and that of other collaborators from the independent music scene of the 1980s/90s.
Text by Flavio Samelo
What is an artist? What should you do? How should you behave? How should you communicate? Who should you walk with? How should you do things? For me all the answers that I, you and anyone else give to this question will not fit the person of the artist Alexandre Cruz, better known as Sesper and so many other nicknames, pseudos and personal projects.
Been active on the underground scene since the 80's, his production has gone through all possible and imaginable platforms, from fanzines, paintings, drawings, engravings, collages, resin, music, graphic arts, videos, documentary, design and I do not know what else, but for sure there are more.
I always say that art is not know how to draw, dance, film, photograph, cook, etc. Art is not to be ashamed to share with the world your form of expression, to say that you find something absurdly "ridiculous" even for the great majority something cool, that you find it beautiful and so on. Art is to be proud of your true opinion expressed in some way, whatever it is, this is one of the main postures that I have seen coming from him since always.
Wth a very strong connection with music and skateboarding since the 1980s and 1990s, and this DIY culture was the beginning of everything: "I think I start the process in the early 90s, which already had the Garage Fuzz, I have to do some collages for the posters of the shows, not that in punk scene it did not exist, we always need arts for the posters of the shows It's like they say, "Necessity makes the man" but today I am more organized more focused, now I can give names, back then was complicated no information at all, it was a self-taught thing, like everyone else at the time, but I was lucky enough to be with a very good group of people and watch how things were going in this period of the 1990s and 2000 from inside was amazing."
This constant search for information and references in an era where information was worth more than money in Brasil, because to achieve it was much more complicated than today, but it became a concern also, another focus of production, to record this battle of to share opinions: “we had to know how to send money on the mail, which was illegal here, it has to be wrapped in carbon paper to not pass the xray, also the “return stamps”, the guys must sent you the letter, and you cut the stamp, put in the hot water and let get out of the letter, but the stamp must be already with the glue on top when the mail guy stamped so the glue protect the stamp to be re used for international posting, we had all this street culture involved that I want to record to share later (laughs)"
The mindset of seizing opportunities and solving problems with creative and authoritative solutions has always been the hallmark of his work. At a time when his production was focused on large-format works, it appears because there was a space to be used for it and the opportunity was there for this new production but it isn’t just glamor of the arts: "when I began to make the transition from works with resin and I started to do bigger things in wood, I thought, “Ok I have this space here, let's see what I can do”, the gallery is huge, they can exhibit a 2 meters art piece no problem, let's see what I can do with that fucking thing, and I did not even absorb much what I did in those years. The other day a guy sent me a picture of a work of mine, I didn't even remember the work I had done. In four years I produced 150 large art pieces and sold 100 I think, even more maybe, so anyone in my situation would be quiet and producing a lot, but I was kind of sad, even because I was feeling hostage to a formula that was working well, even though of course I liked it everything I did back then, but I also knew it was a condition of the moment, you know? I have two daughters, my wife worked hard to help me to get here, so I have to do my part as well, it was the reality of life hitting the door.”
This whole demand for large works turned out to be a major problem of logistics, values and headaches. There came the solution: a new production: "my conscience was that I had to make a work that I arrive to an exhibition with a backpack, with everything inside of it, finished, I have no physical training for that large works anymore, I pass the 40's now, I look at everything different now. I threw everything out of my atelier, 2 garbage trucks, I started to make the collages with the negatives, the cards, and it was at the time that Samuel died (Sesper's dog) there were some acetates sheets on the floor, I got some films and started to cut and paste, and there was the first new work "
This is the path that an artist must always place, of experimentation, of leaving the Security Area, this is where the new things are, something new and true is created, and joy arises. The problem is when you create something that you can not label, can’t put it in any box with a certain name: "I went after friends to find out how to solve it, I had to print it, but I wanted more this paper thing, something with paper, something there I could print afterwards"
Simultaneous production on various platforms makes one influence the other, and in music the change in production was also great: "for 25 years playing with Garage Fuzz, which is a band that has always a very rigid production musical process, where a record may take five years but it's going to be a good project well done, but I had since the 90's those low-fi recordings that I did with Carlos Dias in 1997 when we lived together, we were doing the “Lo-Fi Experience” project, we used to do a double deck overdub playing with a guitar and a box, so it always existed in my life lots of stuff going on at the same time. Nowadays there is more understanding and market for this kind of sound, the people do not get scared when you arrive with a base to play and make a solo bid, something that in the 90s would not be very well understood, but today the guys understand the mistake better"
The concern with register this production, and of his contemporaries, has always been a constant as well, the record of what was done, as his Re-Board project where he rescued the history of the artists who made the art of the skateboard from the 80s until the 2000’s in Brazil. But the concern in the registry is also on all platforms has been through, so the new generations can satisfy the information wanted: "it is ok everyone likes everything today, but before you have to know why, the new generation of skateboard must to know what “Video Days” of Blind was, just as the new generation indie low-fi will have to know what the Folk Implosion was. I miss it today, people don't know things well, I see it for my daughters the opposite, when you play a David Bowie they know what it is, play funk, they know what it is, play Kpop and they know what it is, this generation that was born in digital, they absorb much faster, I can not anymore, I absorb in a certain niche. There are many possibilities and information, too much for me"
In an age where information is in an absurd amount in comparison when he began, his tactic is to observe: "when someone asks me if I know of such subject, even though I know, I say no, just to know what people are talking about and thinking about, I prefer this information than the overdose that exists daily on the internet today, I do not use internet so much because of it"
In the same flow of control over time, the frenzied posture of production and research slowed down and today there is better control for him: "In the last 10 years I have seen my daughters grow up, that changed everything for me, made me see I had to enjoy the moment of my life, to be more relaxed, I'm going to play with Garage, but I'm going to play with the tascam for 20 people and enjoy it as well. I began to have more of this mentality of not making plans, all that I traced, the chess plays, didn’t worked well! (Laughs), and the things that worked out were the things that happened over time with people that I know more, of course there are exceptions and new projects, people and spaces appear all the time in life, but it work better for me with those I know more "
Everything is a summation, a pile of experiences, this is an innocent metaphor of the life and work of Alexandre Cruz and the register of his, and of his friends life, caused his production was shaping little by little over the years and today it is evident the importance of the fragments of everything that was on his radar.
For more than 1h our conversation went way beyond what lyrics here could record, so let's leave the full audio uncut so you can absorb more of this heroic biography of one of our greatest references here at VISTA and many other people with attitude and posture on things of life.
Text by Lucas Ribeiro
Sesper’s work arises from a particular relation between collage, painting, form and texture. Based on experiments made on paper and manipulations with computer graphics programs, today his work takes place mainly on wooden panels, incorporating a wide range of objects to the support and referring to the concept of assemblage. Among the various materials thrown away by society that the artist uses, including educational posters, magazines, and obsolete equipment, there are personal objects and documents pertaining to either himself or his friends. The elements bearing a sentimental meaning, which are sometimes relics of urban subcultures, are incremented by Sesper’s previous work in an endless process of visual feedback. They are parts of works, prints of parts of works, fragments of products created by the artist, in short: originals and transpositions of his works on a wide range of supports are transformed and reused. Simulacrum, and original are fused to compose scenes of a society self-disoriented by psychoactive substances, short-circuited ideologies, Catholic guilt and branding.
Alexandre Cruz spent a large part of his teenage years skateboarding, making zines and recording cassette tapes in Santos, in the state of São Paulo, Brazil. After joining various independent bands, at the beginning of the ’90s he started the band Garage Fuzz, with which he has performed as a vocalist until today, besides engaging in other musical projects. In São Paulo, he began to intervene in the streets with stickers and posters, adopting the pseudonym Sesper, while he also disseminated his art by way of graphics printed on T-shirts for streetwear brands and record covers for independent labels or large recording studios, among other products. In parallel with this, he developed works in the studio which gradually garnered visibility in exhibition spaces. Sesper also worked as a curator, being one of the founders of the seminal exhibition space by the name of Most, and having participated in the curatorship of the traveling show TRANSFER. As a documentarist/videomaker, he directed RE:Board, the result of an extensive research on the history of the art produced on Brazilian skateboards.
Sesper has marked the course of LOGO gallery since its opening, in 2011. His work has garnered attention in group shows such as Perturbo, inaugurating the gallery with his monumental collages/paintings, and Marker, with a perturbing installation: a viewing booth for adult religious films. The artist also generated a great impact by releasing a series of autobiographical works divided among the 2012 and 2013 editions of the SP-Arte fair, which were sold out on both occasions. His work figures in important institutional collections such as those of Itaú Cultural and Instituto Figueiredo Ferraz.
Sesper’s first solo show at LOGO (the first sold out show at the gallery ever), in 2013, was entitled Reprovado [Rejected], and presented a narcotic view of the human condition tied to consumerism. In the installation in an anteroom, as well as in the large-format works, humanity was presented through the brutal reconfiguration of its visible reality.
Anatomy was cut up into parts, while texts, photos, graphics and objects were coupled to the bodies portrayed in each work, offering different psychological readings of the protagonists. Sesper’s dysfunctional beings – part human, part cultural residue – reveal dynamics of social exploitation and control even in a simple portrait. Nevertheless, the punk dystopia that emerges from the set of works does not sound like the refrain of a grassroots revolt. The artist’s conceptual and visual overlayings engender fascination, like in a spectacular end-of-the-world scenario in all its complexity.
Compared to the artist’s previous production, the works of Reprovado mark the rise of a new relation among the layers. Now, even the wood panels that the artist normally uses as a support have been cut, reconfigured and overlaid, forcing the essentially bidimensional compositions toward the tridimensional. The depth makes the figuration emerge or else fragments it, according to the spectator’s vantage point.
The tension between the retinal pleasure and the weight of the new works’ interpretation functions as an analogy to the consumer goods that pervade contemporary life as well as Sesper’s compositions. These products have a momentarily attractive form and functionality, even though they result from slaving production processes that cause environmental damage by both their manufacture and their disposal. It is worth noting that the artist does not position himself here as an example to be followed; he does not make a distinction between the trash of the world and his own, considering himself, in fact, rejected – since Sesper’s oeuvre is full of direct projections of his personality, of representations of isolated facts from his life and self-portraits. But recognizing this position, of having been rejected, and having the artist’s willingness to reconfigure the chaos in our favor, may ultimately be the only solution.
- Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP) - São Paulo/SP (Brasil)
- Itaú Cultural - São Paulo/SP (Brasil)
- Instituto Figueiredo Ferraz - Ribeirão Preto/SP (Brasil)
2019 - Álbum Sem Nome, Galeria Aura/Candida Tabet Arquitetura, São Paulo/SP (Brasil)
2016 - Escape, Galeria Fita Tape, São Paulo/SP (Brasil)
2013 - Reprovado, Galeria LOGO, São Paulo/SP (Brasil)
2011 - Who AM I, Pure evil gallery, London (UK)
2010 - ADICTO, Cartel 011, São Paulo/SP (Brasil)
2008 - Refunctional, Galeria Adesivo, Porto Alegre/RS (Brasil)
2008 - Formol, Galeria Rojo/POP, São Paulo/SP (Brasil)
2007 - A Gang Thing, Atelier Eastpak, São Paulo/SP (Brasil)
2004 - HALEX CRUX , MOST, São Paulo/SP (Brasil)
2004 - 31, Galeria Adesivo, Porto Alegre/RS (Brasil)
2020- RE/VISTA, Galeria Recorte, São Paulo/SP (Brasil)
2019- DDD VOLT4 P4R4 LOS 4NÕ$ 20, Festivau de C4nn3$, São Paulo/SP (Brasil)
2017- Rolo Seco Gig#8, Galeria Carambola, Rio de Janeiro/RJ (Brasil)
2017- Galeria Homegrown, OiSTUOpen, Rio de Janeiro/RJ (Brasil)
2017- REUSO, Praça Vitor Civita, São Paulo/SP (Brasil)
2016 - New Territories, Museo Amparo – Pue. Mexico (México).
2016 - Damaged City Artshow, Open Studio DC., Washington DC (EUA)
2016 - Arte Core, Museu de Arte Moderna – MAM, Rio de Janeiro/RJ (Brasil)
2014 - New Territories, Museum Of Arts And Design, New York (EUA)
2014 - Grande Colina, Galeria LOGO, São Paulo/SP (Brasil)
2013 - Deslize, Museu de Arte do Rio – MAR, Rio de Janeiro/RJ (Brasil)
2013 - Lista #2, Galeria LOGO, São Paulo/SP (Brasil)
2013 - FOUND, Space 507 ½, Los Angeles (EUA)
2012 - Lista, Galeria LOGO, São Paulo/SP (Brasil)
2012 - Marker, Galeria LOGO, São Paulo/SP (Brasil)
2012 - Contagem Regressiva, SESC São José dos Campos, São José dos Campos/SP (Brasil)
2011 - Perturbo, Galeria LOGO, São Paulo/SP (Brasil)
2010 – GGG, Miami (EUA)
2010 - We're Mixed Up!, Galeria de la Raza, San Francisco (EUA)
2010 - TRANSFER, Pavilhão das Culturas Brasileiras, São Paulo/SP (Brasil)
2010 - Carmichael Gallery, Los Angeles (EUA)
2010 - Sem Título e Sem Rótulo, Galeria Murilo Castro, Belo Horizonte/MG (Brasil)
2009 - Lifeline, Carmichael Gallery, Los Angeles (EUA)
2008 - Surf Alma, Píer de Santos, Santos/SP (Brasil)
2008 - FB, Galeria Potrich, Goiânia/GO (Brasil)
2008 - 4 Of A Kind, Galeria +soma, São Paulo/SP (Brasil)
2008 - Fifty-Fifty Skate Surf Art Collective, Ong King Art Center, Honolulu, Havaíi (EUA)
2008 - Os Brasileiros part II, Carmichael gallery, Los Angeles (EUA)
2008 - Os Brasileiros part I, Carmichael Gallery, Los Angeles (EUA)
2008 - Sem Controle, Artsprojekt, Los Angeles (EUA)
2008 - Sold Out, Alias Gallery, Indianapolis (EUA)
2008 - Contra o Verso, Galeria Bergamin, São Paulo/SP (Brasil)
2008 - TRANSFER, Pavilhão das Culturas Brasileiras, São Paulo/SP (Brasil)
2007 - Volta às Aulas, Galeria Graffiteria, São Paulo/SP (Brasil)
2007 - Custom Munny, Galeria Plastik, São Paulo/SP (Brasil)
2007 - Autista, Ar+space gallery, San Francisco (EUA)
2007 - Element Street Gallery, São Paulo/SP (Brasil)
2007 - Fifty-Fifty Skate Surf Art Collective, The Hilo Art Museum, Hilo, Havaíi (EUA)
2006 - Shape Arte, Studio SP, São Paulo/SP (Brasil)
2006 - Conexão Vista, Afrospot, São Paulo/SP (Brasil)
2006 - Spray – Novo Muralismo Brasileiro, Memorial da América Latina, São Paulo/SP (Brasil)
2005 - Circuito Mirabolante, Galeria Adesivo e Santander Cultural, Porto Alegre/RS (Brasil)
2005 - Le Brésil à L’affiche, Les Silos, Chaumont (France)
2005 - Co elect works, Kraft, Campinas/SP (Brasil)
2004 - Calaveras, Galeria Choque Cultural, São Paulo/SP (Brasil)
2004 - Catalixo, Galeria Choque Cultural, São Paulo/SP (Brasil).
2004 - 100latas, Galeria Graffiteria, São Paulo/SP (Brasil)
2004 - Resfest Vrom Coletivo, Studio SP, São Paulo/SP (Brasil)
2019 - ArtRio – Galeria Aura - Rio de Janeiro (Brasil)
2014 – SP Arte – Galeria Logo - São Paulo (Brasil)
2014 - ArtRio – Galeria Logo - Rio de Janeiro (Brasil)
2014 – Odeon Art Fair– Galeria Logo - Bogotá (Colombia)
2013 – SP Arte – Galeria Logo - São Paulo (Brasil)
2013 – Feira Parte – Galeria Logo - São Paulo (Brasil)
2013 - Scope Art Show – Galeria Logo - Miami (USA)
2013 - ArtRio – Galeria Logo - Rio de Janeiro (Brasil)
2013 - BRAF Brasil Art Fair – Galeria Logo - (Miami (USA)
2012 – SP Arte – Galeria Logo - São Paulo - (Brasil)
2012 – Feira Parte – Galeria Logo - São Paulo - (Brasil)
2009 – Beyond Eden Art Fair – Carmichael Gallery - (Los Angeles - (USA)
2008 – Gen Art Vaguanrd – Carmichael Gallery - Miami (USA)
2019 - October 2019 Art Auction - official auctioneer James Lisboa - Work “A Lesson in Violence” (2008)
2018 - Art auction November 2018 - official auctioneer James Lisboa - Work “Rivers of Blood” (2013)
2017 - Art auction June 2017 - official auctioneer Aloisio Cravo - Work “Youth On Empty Brains” (2011)
2016 - Art auction March 2016 - official auctioneer James Lisboa - Work “Impulse Manslaughter” (2011)
2011 - XIV edition “Pratos para Arte” auction - Lasar Segall Museum official auctioneer Aloisio Cravo - Work: Ceramic plate made at Ateliê Barro Blanco
2009 - Bolsa de Arte auction October 2009 - official auction house Vivian Perez - Work “Graciano” (2009)
EXHIBITIONS CURATED / CO-CURATED
2019 - "Não Temos Condições de Responder a Todos" SESC Consolação (São Paulo/SP - Brasil)
Curated by Alexndre Cruz
2012 - "RE:board" SESC Ribeirão Preto (Ribeirão Preto/SP - Brasil) Curated by Alexndre Cruz
2010 - "Transfer" Pavilhão de Culturas Brasileiras / Ibirapuera - (São Paulo/SP - Brasil)
Curated by Lucas Ribeiro , Co-curated by Alexandre Cruz, Fabio Zimbres, Christian Strike
2010 - "RE:board" The A Gallery (Los Angeles/CA - USA) Curated by Alexndre Cruz , Co-curated by Fabio Ahmad
2009 - "RE:board" Matilha Cultural (São Paulo/SP - Brasil) Curated by Alexndre Cruz , Co-curated by Fabio Ahmad
2008 - "Transfer" Santander Cultural - (Porto Alegre/RS - Brasil) Curated by Lucas Ribeiro , Co-curated by Alexandre Cruz, Fabio Zimbres
1992 - "2* Exposição de Cartazes e Filipetas de Bandas Independentes." Cinemateca -Outeiro de Santa Catarina" (Santos/SP- Brasil) Curated by Therapia - Alexandre Cruz , Rubenval Santos
1992 - "1* Exposição de Cartazes e Filipetas de Bandas Independentes." Teatro Municipal de Santos (Santos/SP- Brasil) Curated by Therapia - Alexandre Cruz , Rubenval Santos
2020- Garage Fuzz – “Take Care of Your Friends” (Digital EP) Not On Label
2019- Angüstia – “Desumanizar” (DT – Cassette Tape) Not On Label
2019- ACruz Sesper – “The Cell” (12” Vinyl LP) Assustado Discos/Rolo Seco Discos/Submarine Records
2019- ACruz Sesper Trio – “The Days go by Like Broken Stairs” (12” Vinyl LP) Assustado Discos/Rolo Seco Discos/Submarine Records
2019- Garage Fuzz – “Timeline Fearless” (CDEP) Not On Label
2019- ACruz Sesper Trio / Bugio / Guilherme Granado – “Fita
Crepe” (Cassette Tape) Brava / Submarine Records
2019- Garage Fuzz – “Dive Into Yourself” (Digital) Not On Label
2018- Angüstia – “3 Songs” (Digital EP) Not On Label
2018- Instant Pot – “Waiting” (Digital EP) Not On Label
2018- ACruz Sesper Trio – “ACC230318” (Cassette Tape) Outprint / Submarine Records
2017- ACruz Sesper – “No Song As a Trio” (EP - Cassette Tape) Outprint/Submarine Records
2017- Garage Fuzz – “Celebrating 25 Years” (CD / DVD) Hearts Bleed Blue Records
2017- Garage Fuzz – “Acoustic Session on a Hot Day” (Digital) Not On Label
2016- ACruz Sesper – “Not Count For Spit” (10” Vinyl LP + Cassette Tape) Rolo Seco Discos / Submarine Records
2016- ACruz Sesper – “Samuel” (EP - Cassette Tape) Outprint
2016- The Pessimists – “Six Songs” (7” Vinyl EP) Nada Nada Discos
2016- The Pessimists – “U.S. Tour Tape” (Cassette Tape) Outprint / Nada Nada Discos
2016- ACruz Sesper – “Wrong Medicine” (Cassette Tape) Outprint
2016- In.tro.spec.tive – “Pressure Testing” (Cassette Tape) Outprint/Submarine Records
2016- ACruz Sesper – “Live In San Francisco” (Cassette Tape) Outprint
2016- Garage Fuzz – “Comfortable Moments”. (12” Vinyl LP) Anda Anda Discos / Spicolli Discos
2016- ACruz Sesper – “No Box For Spit” (4 Cassette Tape Box + Fanzine) Outprint
2016- Garage Fuzz / Againe - “Split” (7” Vinyl EP) Anda Anda Discos / Spicolli Discos / Submarine Records
2015- Garage Fuzz – “Fast Relief” (CD) Not On Label
2015- Garage Fuzz – “Relax in your Favorite Chair” (12” Vinyl LP) Anda Anda Discos / Spicolli Discos
2015- The Pessimists – “In The Beginning There Was...” (EP – Cassette Tape) Outprint
2015- Garage Fuzz – “Turn the Page...” (12” Vinyl LP) Burning London Records
2015- ACruz Sesper – “It’s Bargain Time / Modern Affair”. (7” Vinyl EP) Rolo Seco
2015- ACruz Sesper / Carlos Dias – “Split Tape” (Cassette Tape) Outprint / Rolo Seco
2014- Garage Fuzz – “Daylight” (Cassette Tape) Outprint
2014- Slick Ones – “Slick Ones” (Cassette Tape) Outprint
2014- Vallejo Sunset – “Clouds on Green Valley” (Cassette Tape) Outprint
2014- Vallejo Sunset – “Dream” (Cassette Tape) Outprint
2014- Vallejo Sunset – “Vallejo Sunset” (Digital EP) Not On Label
2012- Garage Fuzz – “Warm & Cold” (CDEP) Not On Label
2012- The Good Loop Project – “Not For Sale” (7” Vinyl EP) Not On Label
2009- Garage Fuzz – “Definitively Alive” (CD + DVD) Ideal Records / Flame
2009- Vallejo Sunset – “Clouds on Green Valley” (Digital) Not On label
2007- Safari Hamburgers – “Good Times” (CD REISSUE) Cogumelo Discos
2005- Garage Fuzz – “The Morning Walk” (CD) Thirteen Records
2002- Garage Fuzz / Solea – “Working on the Title” (CDEP) Highlight Sounds
2002- In.tro.spec.tive – “Pressure Testing” (Digital EP) Not On Label
2001- Garage Fuzz – “3500 Days Alive!” (CD) Highlight Sounds
1999- Paura – “First Release Summer 1996” (CD REISSUE) Conspiracy Chain
1999- Fliptop – “Shack Rock” (Digital / Cassette Tape) Not On Label
1998- Garage Fuzz – “Turn The Page” (CD) Stand Records / Onefoot Records
1997- Garage Fuzz – “4 New Songs” (DT – Cassette Tape) 358 Tapes
1997- Garage Fuzz – “Confortable Dimensions” (CD) Spicy Records
1996- Lo-Fi Experiments – “Lo-Fi Nights” (DT – Cassette tape) 358 Tapes
1995- Garage Fuzz – “Relax in your Favorite Chair” (CD) RoadRunner Records
1995- Paura – “Paura” (CD) Family Trust
1994- Land of free – “S/T” (Cassette Tape) Not On Label
1993- Safari Hamburgers – “Good Times” (12” Vinyl LP) Cogumelo Discos
1993- Garage Fuzz - “Garbage Funny Things” (DT – Cassette Tape) Not On Label
1992- Safari Hamburgers – “Build and Rearrange”. (DT – Cassette Tape) Not On Label
1991- Garage Fuzz - “Daylight” (DT – Cassette Tape) Not On Label
1990- O.V.E.C. – “Ao vivo no Torto” (DT – Cassette Tape) Not On Label
1990- Psychic Possessor – “Rehearsal” (DT – Cassette Tape) Not On Label
1989- O.V.E.C. – “Idiotas do Governo” (DT – Cassette Tape) Not On Label