Every Fejuca track is the result of lived experiences, bold experiments in the studio, and personal rituals that you rarely see from the outside. The Off the Record series was created by Moises to shed light on these hidden moments. Here, it’s all about the process that shapes an artist’s real signature, not just the polished final song.
If you watched Fejuca’s official episode, you saw a glimpse of his “restless sonority”—that blend of Brazilian roots with fearless modern touches. But there’s so much more to uncover. This blog takes you deeper into Fejuca’s creative world, where stories from childhood, analog surprises, and late-night jams inspire each new project.
The themes below highlight the background, habits, and mindset that help Fejuca leave a lasting mark on modern music.
Family, upbringing, and the roots of musicality
Much of Fejuca’s creative DNA can be traced back to Serrana, a small city loaded with musical folk traditions and family parties.
“Serrana is a musical city. We have Congo festivals, Folia de Reis, all kinds of traditions. And my family is huge—on my mom’s side and on my dad’s side. It’s a family that really likes to party.” Even his nickname “Fejuca,” passed down from a long line of relatives with food-inspired names, anchors him to home and family.
Fejuca’s grandmother had a rule: she wanted her eleven children to gather there instead of going to bars. The result was a house that overflowed with people, celebration, and, most of all, music.
“My grandma had eleven kids. And she had a rule. She made a deal with everyone: ‘I don’t like bars, I don’t want you to hang out in bars. So, have your parties here.’ It was a big house, so imagine this: eleven siblings each bringing their friends, and that would become a big event.”
He remembers learning by sheer proximity: uncles, aunts, and family friends supplied the backdrop, as records spun on the turntable and impromptu jam sessions unfolded in the living room. These everyday moments became his real music school, shaping an identity rooted in diversity and receptiveness.
From jam sessions to homemade studios: Early experimentation and ear-first learning
In Fejuca’s world, even rehearsals turned into parties. His first “band practices” were actually family barbecues where the samba group would set up to play, relax, and eat together. Because the group practiced right at his house, all the instruments and gear were left there during the week.
“Since the band rehearsed at our house every week, they left all the equipment there—drums, speakers, monitors, mixing board, all the instruments. I’d spend the whole week with everything right there.”
With all those instruments available and no formal lessons, Fejuca’s curiosity took over. He started testing things on his own. The big breakthrough came when he realized he could record himself, using his mom’s old tape player. He figured out how to stack tracks just by experimenting, with no instructions—only his instincts.
“I wanted to record myself without knowing anything. Not a bit of theory, never watched a video. It was more of a feeling thing.”
He remembers connecting cables, plugging in microphones, and turning knobs until things worked. Sometimes a loud sound would surprise him and he would adjust the volume until it was just right. Each mistake taught him something new.
Even before Fejuca ever entered a professional studio, he was building a strong foundation simply by exploring sound and trusting his ear. Today, that same hands-on, intuitive spirit shapes everything he does as a musician and producer.
Musical diversity and shaping a career
Fejuca’s musical identity has always been broad and full of contrast. Growing up, his family’s parties mixed samba, rap, soul, reggae, and anything else that inspired dancing. As a result, he feels comfortable playing in almost any setting: from choro circles to sertanejo duos, even at wakes or wedding receptions.
One key moment was moving from the small-town scene in Serrana to the busy energy of São Paulo. He tested his skills at the Universidade Livre de Música (ULM/Emesp). Even though he sometimes felt out of place because he wasn't trained in music theory, his lived experience and “street” sense gave him a different edge.
Later, gigging and touring in Europe, Fejuca discovered new directions by collaborating at jam sessions with local and African musicians.
“Playing over there, I really got to know African music. I discovered afrobeat on the spot, playing in the street, at jazz clubs, with a ton of African musicians. I even recorded with them.” Each step, whether at home or abroad, became part of Fejuca's toolkit. His ability to learn from any environment continues to feed a career that refuses boundaries and stays open to new inspiration.
Studio experiments and DIY production techniques
Fejuca’s homegrown approach to recording is all about creativity and making the most of what’s at hand. He started with cassette decks, testing things out and learning from each mistake. One day, for example, a blast of feedback taught him to set the volume low and experiment little by little.
By trying to mimic the sounds he heard on his favorite records, Fejuca got comfortable with basic mixing moves like panning, balancing gain, and tweaking tone. Effects like reverb and EQ became his playground. He would plug his small collection of pedals into anything he could find, sometimes getting strange results, sometimes hitting gold.
“I remember thinking, ‘Hold on a second... When I connect these pedals to my cavaquinho, this thing creates a sound’—a reverb. I didn’t even know what it was called, just that it made the sound seem bigger. Then I tried adding it to the pandeiro and recorded it that way. The first attempt sounded ugly, but after some more testing, I managed to discover how to use reverb in my recordings.’”
This early spirit of trial, error, and fearless tweaking has never left him. For Fejuca, real progress often starts by exploring the possibilities of whatever tools you already have, not waiting for the perfect studio or gear to come along.
Collaboration, community, and the producer’s role
Fejuca believes that a producer’s job is to connect people and ideas, not to control everyone. He carefully assembles each creative team, knowing when to step in and when to let someone else lead.
“For me, the producer’s job is about connecting. You’re kind of the mixing board, bringing things together and making sure everything flows. Sometimes I do the arranging myself, but I can also delegate. I know how to play, mix, and record, but when I build a team and everyone’s contributing, we can go further together.”
His ego never gets in the way of the music. Fejuca lets go of ideas without hesitation. If a proposal doesn’t excite the group, he deletes it and moves on. What matters most is the creative journey and what everyone builds together.
“I have zero attachment to ideas. If I bring something in and you’re not moved by it, I delete it right away, no questions! Then we start over. That’s how you build something as a team.” This collaborative spirit keeps every session fresh and prevents creative blocks, making possible the kind of records that feel alive and genuine.
Stay open, stay curious
Looking back over Fejuca’s story, one truth stands out: musical growth happens when you stay open. He welcomes tradition, surprise, teamwork, and even the rough edges of homemade recording setups. His path shows that you don’t need everything to be perfect or polished. What you really need is to listen closely, collaborate generously, and stay curious no matter where you are or what gear you have.
Take inspiration from Fejuca’s approach and carry it into your own creative practice. Whether you’re jamming at home, working in the studio, or connecting with new collaborators, leave your ears, your doors, and your mind open.
If you want to see more of Fejuca’s process for yourself, watch his full Off the Record episode on the Moises channel.
