Engineered raised floors for data centres and clean technical spaces

See the project portfolio

Diogo Strausz is a musician, composer and producer whose work moves comfortably between Brazilian rhythmic traditions and the electronic pop of Europe. The portfolio traces a path from balão and hora styles through to club-ready funk, and the catalogue reflects a producer who treats genre as a starting point rather than a boundary. Releases have circulated widely, earning airtime and coverage from outlets known for championing adventurous new music.

The sound is built on contrasts: a warm, lived-in groove set against sharp, synthetic edges. Live performances carry the same energy as the studio work, and the live show has become a reliable highlight for audiences who arrive curious and leave converted. Strausz plays with a band of fellow musicians, a collective of players whose instincts are trusted enough to leave room for spontaneity on stage.

Before working internationally, the career took shape in Rio de Janeiro, in settings where a musical community gathered around an abandoned mansion and rehearsed without ceremony. Those early rooms, filled with players experimenting freely, established the instinct for collaboration that still defines the work: dozens of projects, albums and EPs later, the open door remains the method.

Commercial production is a substantial part of the practice. Strausz has written and produced advertising music for global brands, spanning Brazil and Europe, delivering music for campaigns and soundtracks with a strong sense of brief. The trick is delivering something polished and immediately usable without sanding away the personality that made the commission work in the first place.

The recorded output includes collaborations with artists whose trajectories were rising quickly, alongside long-standing musical partnerships that developed out of shared studio time. Releases have been picked up by influential music magazines and online publications, and the discography reads as a rolling conversation between genre traditions and contemporary electronic production rather than a set of isolated tracks.

Beyond the studio, Strausz has continued to expand the live repertoire, refining a set that mixes original material with commissioned pieces and works built for dance floors. The arrangement work is meticulous: funk basslines with weight, disco hooks with shine, and percussion that lands with precision. The result is music that carries momentum from the first bar without ever tipping into predictability.

Production credits also reach into film and television, where soundtracks and original score work have allowed the same compositional instincts to operate in a narrative frame. These projects sharpened a discipline of restraint, the understanding that a cue should support a scene rather than upstage it, while still carrying a distinct signature that listeners recognise.

Critics have responded warmly to the recordings, describing them as energetic, flirtatious and undeniably danceable, with reviews noting a keen sense of rhythm and a willingness to leave tension in the mix. The broader critical conversation has taken the work seriously, placing Strausz among producers regarded as distinctive and durable rather than momentary, with a growing international audience following along.

A website built as an editorial portfolio makes sense for this body of work. Full-colour photography, generous space and a dark, gallery-like presentation place the emphasis on the imagery and the music itself, with navigation kept spare so nothing competes with the record. It is a fitting frame for an artist who has spent years refining how Brazilian rhythm and European electronic production meet.