In the year 1944, an artifact is used in a military experiment. The artifact is the Mask of Anhangá, the executioner of Tahawantinsupay, a Pre-Columbian God. The experience fails. Nowadays, the Mask arrives at Sao Paulo. The Mask possesses a body and starts to commit visceral sacrifices on vengeance for the incarnation of its God, initiating a blood bath. The policewoman Beatriz Obdias is in charge of the crimes, challenging her beliefs. A true mystical slasher film in the city of Sao Paulo. Welcome to Skull: The Mask, Original Soundtrack. More at http://www.fernandoarruda.info/Skull-A-Mascara-de-Anhanga

Skull: The Mask

In the year 1944, an artifact is used in a military experiment. The artifact is the Mask of Anhangá, the executioner of Tahawantinsupay, a Pre-Columbian God. The experience fails. Nowadays, the Mask arrives at Sao Paulo. The Mask possesses a body and starts to commit visceral sacrifices on vengeance for the incarnation of its God, initiating a blood bath. The policewoman Beatriz Obdias is in charge of the crimes, challenging her beliefs. A true mystical slasher film in the city of Sao Paulo. Welcome to Skull: The Mask, Original Soundtrack.

Tahawantinsupay Suite VI - Saga

Tahawantinsupay Suite III - Welcome To Earth

Tahawantinsupay Suite II - Greed

Tahawantinsupay Suite I - Ritual

Evoking T'uxlu

São Paulo Suite V - Stuck In Traffic

Skull Suite III - Anhangá Returns

Skull Suite II - Awakening

Skull Suite V - Neutral Purpose

Skull Suite I - Underworld

Skull Suite VI - Focused

Church Rendezvous

São Paulo Suite I - Secretly Guilty

São Paulo Suite III - Beatriz Obdias Prelude

São Paulo Suite IV - Beatriz Obdias

São Paulo Suite II - Wondering

São Paulo Suite VI - Strength Within

São Paulo Suite VII - Puzzled

São Paulo Suite VIII - Puzzled Again

Fernando Arruda ORGANIZES SOUND. As a multi-instrumentalist PERFORMER (saxes, flute, clarinet, piano, acoustic guitar, EWI4000s and synths), COMPOSER, and music PRODUCER, he merges live acoustic performances with heavily processed electronic music. His work focuses on diversity, technical quality, accurate emotional EXPRESSION and ORIGINALITY. He is an EXPLORER of the many facets of the music scene in the world. He worked as a jazz and session musician in Australia and New York (2004-2010), as an audio engineer, producer and sound designer (2010-present), touring the USA as a sax player and DJ (Neon Hitch, Ariana and the Roses, Dark Inc. 2011-2012), as a TEACHER (Dubspot, The New School, Skill Share, privately, 2011-present), as musical director and sound designer for THEATER (La MaMa, The New School, NY Fringe, 2009-present) and as a composer for film and concert music (2012-2014). 

An expert in music theory, history and performance (School of Music of Brasília; University of Brasília; Australia’s Performance Arts Unit; The New School for Jazz and Contemporary Music, Eugene Lang College), Fernando Arruda graduated both as a performer (B.F.A.) and as a HISTORIAN (B.A.). Currently he pursues a Master’s Degree (M.M.) at New York University’s Steinhardt for Film Scoring, Multimedia, and CONCERT COMPOSITION. 

He is the co-founder and baritone sax player of the acclaimed classical SAXOPHONE QUARTET Art&Sax. In 2014, Art&Sax will be releasing their debut CD Gare Saint Lazare: his first classical release both as a performer and as a producer. 

Fernando Arruda is also known as FJAZZ in the electronic dance music scene. As such, he released 3 solo albums (2011, 2012, 2013). As a sideman, audio engineer and producer, his discography goes BEYOND 20 official releases. He is also a voting member of The Recording Academy (Grammy), and partner/recording artist of Scotch & Murder Music.com, a COLLECTIVE of musicians, writers and music-lovers that function as a label, events organizer, and music review blog. 

As a freelancer composer, sound designer, session musician and mix engineer, Fernando found his new passion: he is currently working with music for MOVING PICTURE at New York’s creative audio studio Antfood. 

Some of his interests are: the origins of DIGITAL technology and its relation with World War II, Cold War, contemporary music and financial systems. Other interests include: POSTHUMAN art, audio sampling, ACOUSMATIC music and advocating for a healthier urban sonic environment. 

Fernando is currently available for freelance work on and offsite.
more at: fernandoarruda.info