Vitor Araújo is one of those artists capable of articulating the Brazilian and world-wide classical music avant-garde with the undisputable artistic conquests of experimental-pop music of his time. His diverse musical formation, the forms of urban, popular, and folk music, related to his hometown of Recife (one of the greatest focal points that congregates the indigenous, European and Afro-descent people in Brazil) and the rest of the country, pervaded the aesthetic formation of the artist. This is verified even in his first works, in his debut album Toc (2008) and A/B (2012). Now, in his third album, the traditional candomblé rhythms reveal the perfect harmony between his influences both classical and electronic. The sources bequeathed by Heitor Villa-Lobos and the instrumental slope of his spiritual disciple Tom Jobim; the timbre and acoustic experiments of Gyorgy Ligeti; the cyclic narrative possibilities opened by Steve Reich; the remodeling of sound manipulation tools by Karlheinz Stockhausen; are related not only to the vanguard of electronic music but even to the rhythmic and vocal expressions of Brazilian music.
