The former
Titãs member
Arnaldo Antunes brings to this solo work his intelligent lyrics that smoothly deliver semiological and political concepts, and several partnerships. "As Árvores," written with
Jorge Benjor, is a declaration of love to the trees in which the music lays over two chords and a repetitive melody.
Benjor's trademark of almost spoken "melodies" is found in "Dinheiro" (Money), where
Antunes explores the absurdity of the symbolic meaning of a piece of paper. "Além Alma," with the poet Paulo Leminski, is an interesting melody with Northeastern inspiration with lyrics dealing with the modern apology of emotional numbness. The same theme is found in "Música Para Ouvir" (with guitarist Edgard Scandurra, who also plays throughout the album), where under a guitar riff and a mesmerizing percussion there is a hidden critic to the instrumental use of music, put in contraposition to the focused listening; and in "Socorro" (Help), an urging and desperate cry, it is the very human emotion that is at stake. The collaboration with the
Titãs'
Nando Reis in the coco-influenced "Se No Meio do Que Você Tá Fazendo Você Pára" produced a swinging tune about a time paradox. "Um Som," when
Antunes meets another semiology wizard, Paulo Tatit (formerly of Rumo) establishes a mysterious dreamlike atmosphere with the help of the exotic voice of Saadet Türkoz, who also performs in several other tracks. Punk rock is remembered in the contusive "Decida," a strong class identity is imposed in "Volte Para Seu Lar," and social sharing is suggested in the baião "Quase Tudo," which had comme il faut zabumba and accordion. Others that collaborated in the compositions of the songs of this album are the
Titãs'
Paulo Miklos,
Carlinhos Brown (in the surprisingly delicate "Doce do Mar"),
Péricles Cavalcanti, and Alice Ruiz. The album, with its careful production, the expert percussion of
Marcos Suzano, a lot of ethnic sounds, some catchy melodies, and dense concepts will appeal to contemporary pop/world fans. ~ Alvaro Neder