Adriana Calcanhoto inadvertently exposes the problem of the stagnation of today's pop music in Brazil on this album. She is evidently anxiously searching for a true Brazilian-world modern pop language. In that search for inspiration, she went back (more than 30 years) to the tropicália times, tried drum machines together with genuine Brazilian violão playing, exposed respectfully Dorival Caymmi's "Quem Vem Pra Beira Do Mar" (helped by Caymmi), brought ska, funk, incidental electronic noise, Olodum-type percussion, samples, synthesizers, an old kitsch Jovem Guarda classic hit (Roberto Carlos' "Porisso Eu Corro Demais"), and dance grooves to the mix, everything permeated by her cool, small voice, more suitable to peaceful ballads than for wild grooves -- and never finding a defined path for expression. Even the great multi-instrumentalist Hermeto Pascoal seems constrained and lost in his only participation on one track that never takes off. Adriana remains an expressive singer of the current pop frontline in Brazil. She evidences a rare respect for Brazilian tradition, but she is still very far from finding what is supposed to be a "modern" expression for the rich Brazilian culture in music.
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AllMusic Review by Alvaro Neder