Hojerizah is considered to be an innovative band of the Brazilian rock of the '80s, in spite of their lack of commercial success. Having worked for seven years and written around 100 songs which were presented in alternative bars, the band recorded two albums and was dissolved soon afterwards. Their strengths, in their fans' point of view, are the elaborated lyrics and instrumental parts, both by Flávio Murrah, one of the best guitarists of the style. The band spent some years constituting its identity and repertory. In 1985, they succeeded in recording a single, Pros Que Estão Em Casa, which had airplay on alternative radios like the Maldita (Fluminense FM), one of the few that played the Brazilian rock of the '80s. In July 1987, they recorded their first LP, Hojerizah, which blended visceral rock, post-punk, and progressive, with references to the surrealist painter Salvador Dalí and cinema director Luís Buñuel (the album cover depicted the famous scene of the eye being cut by a razor of Le Chien Andalou). "Pros Que Estão Em Casa," which was included in the album, had good airplay, and "Tempestade em Viena" and "Senhora Feliz" were also played. In November, 1987, the band, together with Hanoi-Hanoi and Nenhum de Nós, performed at the Canecão (Rio), the single most important venue for the release of trends, in the festival promoted by the nascent label Plug (RCA), which specialized in the Brazilian rock of the '80s. Their second album, Pele, came in October, 1988, this time with references to the French symbolist poet Jean-Arthur Rimbaud (one of his poems was used in "Canção Da Torre Mais Alta"). It only had two songs played in the specialized radios, "Pele" and "A Lei." The record company dismissed them due to their lack of commercial success and the band dissolved soon afterwards. In 1994, they teamed again to release a compilation with the Picassos Falsos, a band which kept several chronological similarities to Hojerizah. In 1999, they performed at the Ballroom. ~ Alvaro Neder