Known for its aggressive style and lyrics addressing themes such as police and social violence, drug trafficking, and criticism of the system, the group became one of the most iconic names in Brazil’s gangsta rap scene.

[9] Between 1997 and 1998, Garga left the group and was replaced by DJ Erick 12, who also contributed to the second studio album, Estamos de Luto (We Are Mourning), released in 1998,[1] which showcased a slower rhythm compared to their earlier work.

[9] This marked the beginning of Facção Central's rise on the Brazilian rap scene, with tracks such as "Brincando de Marionetes" ("Playing with Puppets") and "Detenção sem Muro" ("Detention Without Walls") becoming popular.

[9] Tracks like "Versos Sangrentos (A Minha Voz Está no Ar)" ("Bloody Verses"), "12 de Outubro" ("October 12"), and "Anjo da Guarda x Lúcifer" ("Guardian Angel vs. Lucifer") became anthems, with their acidic portrayal of São Paulo's periphery marking the group's trajectory for years to come.

[9] Two years later, the group released the double album A Marcha Fúnebre Prossegue (The Funeral March Continues), a direct response to the censorship Facção Central had faced due to "Isso Aqui é Uma Guerra."

[9] The album began making comparisons between the peripheral realities in São Paulo and those in other parts of Brazil, as well as introducing historical and political references to explain why "the funeral march continues" in impoverished regions.

[13] The album included standout songs such as "O Menino do Morro" ("The Boy from the Favela"), "Hoje Deus Anda de Blindado" ("Today God Drives an Armored Car"), "Eu Não Pedi Pra Nascer" ("I Didn’t Ask to Be Born"), "O Homem Estragou Tudo" ("Man Ruined Everything"), and "Estrada da Dor 666" ("Road of Pain 666"), reflecting the deep despair and critique of societal structures.

This album marked a significant shift, as the group incorporated references to historical black figures and movements, addressing the racism and marginalization faced by people of African descent throughout history.

[13] The album, the last to feature Eduardo Taddeo, also brought attention to the legacy of quilombos (communities of escaped slaves) in Brazil, aligning their fight with broader struggles for equality.

The album featured collaborations with rappers Smoke, Badu, DJ Pulga, Crônica Mendes, WGI (Consciência Humana), Anália Patrícia (Eduardo Taddeo's sister and Dum-Dum's wife), and Branco P9.

[18] Dum-Dum explained in a 2015 YouTube interview that the group's new project, Na Cena, in partnership with Moysés, Cabeção, Lauren, and DJ Celo, would present a less violent and more positive approach, reducing the use of profanity and highlighting that life in the periphery, while difficult, was not as dire as many believed.