Cássio Gava's second release strikes the listener from the start -- it's an unusual sound. Gava doesn't seem too concerned with contemporary production trends, opting instead for an intense use of real orchestral musicians, which gives his work an aura of originality. His melodies are simple but communicative. The arrangements (all written by him) curiously evoke the Festivals period, with all that grandiloquence and excessive notes that impede transparency and multidimensionality, making everything sound plain. They would profit from a more simple and economic approach. Also they are too conservative, too diatonic harmonically. Nevertheless, his talent is evident in songs like "Oração Para Um Deus Distante" (Gava), which denotes Edu Lobo influences; "Toada" (lyrics by Zeca Baleiro), with armorial influences in the beautiful and simple melodic line; "Dia Dia Diá" (Gava/J. C. Costa Netto), which has some João Bosco "quotes" in the vocals and violão (Brazilian acoustic guitar) playing, soon giving room for a bossa very much in the Toquinho/Vinícius de Moraes style; "Meu Número" (Fernando Forni/Élio Camalle/Gava), a light pop song with interesting modulations; "O Risco" (Gava), with its very angular melodic line in ballad format; "Louco Era Eu" (Gava), which is inscribed in the very Brazilian valse tradition; and the melody of the frevo "O Dom" (Gava/Luiz Tatit), which supports Tatit's lyrics with simplicity.