More eclectic and less direct than its two predecessors, this is Max de Castro’s eponymous third album. The famous percussionist Naná Vasconcelos appears and leaves his distinct touch on “Ciranda ao Redor da Galáxia,” “Rosa, um Samba pra Excluídos,” and “Sempre aos Domingos” are both clearly inspired by Jorge Ben and Trio Motocó, “Vontade de Potência” has the somewhat somber scent of Brazilian ’80s rock, “Depois da Festa” could be described as a psychedelic rhumba, and “Pixinguinha” is samba mixed with modern jazz. There is always a risk in mixing so many different musical styles in one single album, but much thanks to his solid and creative production, de Castro manages to pull it off. However, this album is not as strong as Orchestra Klaxon (from 2003), on which de Castro came across as more focused and inspired. Although very original and interesting, this record doesn’t really capture the attention or imagination of the listener as did Orchestra Klaxon or even Samba Raro. – Philip Jandovský
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