DNA is a 30-second piece, simple and devoid of adornments, that presents the "genetic code" of the album, composed of melodic and rhythmic motifs that develop throughout the other compositions. This code manifests in different forms: for example, the theme ends with three notes that, in an encrypted way, correspond to the letters of the word "CRU." Beyond the musical motifs, there is also a numerical symbolism associated with the performers, with the musicians stating numbers that correspond, numerologically, to their identities. The number 7 represents Cláudio da Silva, and the number 3 represents João Capinha, values that are reflected at various moments in the album. One example of this is the duration of the tracks, often 7 or 3 minutes, or even the 30 seconds of DNA. This connection between music and numerology adds an additional layer of interpretation to the album, expanding its reading beyond the purely sonic plane.

-Cláudio da Silva 

Pollen is a multifaceted exploration of the idea of creation. It can be seen as a reference to fertility and sexuality, where the creation of life intertwines with the idea of something pulsating and vital. However, it also evokes a sense of invasion, with pollen causing harmful reactions in the body and disrupting existence in an uncontrolled way. Additionally, there is a possible interpretation of the work that alludes to a hallucinogenic experience, or a sensory transformation that transports the listener to another reality.

The piece is divided into two distinct parts: a first, more written and structured part, and a second, more improvised part, with a more vigorous rhythm. The transition between these sections is marked by an improvisation that generates a fluid and open soundscape, leaving space for multiple interpretations and allowing the listener to lose and find themselves in the created sonic environment.

-Cláudio da Silva 

Eden of Lilith is a work that evokes the raw and primitive force of desire, the deep energies of creation, and female empowerment. We all know the myth of Adam and Eve, but there is evidence in ancient traditions that Adam and Lilith were the first humans created. However, Lilith refused to submit to Adam and renounced Paradise. This conflict generates a tension between the masculine and the feminine, the human and the divine, which here is presented in its "raw" state. Lilith symbolizes the raw and unyielding power, while Eden — and Adam — represent the attempt to tame this power. The work reflects the rawness of this unresolved conflict, of that primordial force still untamed and unrefined.

Musically, the idea of Eden is expressed through a flute that plays the French folk melody Rossignolet du bois, whose lyrics refer to a garden. This melody is developed and deconstructed throughout the piece. There are also references to other musical materials, such as the motif from Lulu, the opera by Alban Berg, creating a link to the idea of female empowerment. There are numerous layers and musical ideas to be discovered in this work, making it a multifaceted reflection on power, freedom, and creation.

-Cláudio da Silva 

Quotidiano is a piece that reflects the flow of modern life, where interactions and experiences are lived in a naïve and superficial manner, with rawness emerging in the absence of depth or layers. This monotony is interrupted by an almost scream-like sound breaking through the silence, disrupting the melodic flow and introducing a moment of unexpected intensity.

One element that “roughens” the saxophone’s voice is a coconut, a symbol in Hindu tradition associated with purity and abundance. When placed in the bell of the instrument, the coconut prevents the saxophone from expressing itself freely, limiting its sound and interfering with the fluidity of its tone.

Inspired by the Poemas Quotidianos (1967) by Portuguese poet António Reis, the piece begins with an improvisation symbolizing a trace of individuality and freedom. However, this opening inevitably leads to the exposition of a melody presented in a conventional manner, yet juxtaposed with counterpoint featuring angular lines and complex rhythms, as if the hope for liberation and a sense of constant restlessness persisted. This tension remains until the very end.

-Cláudio da Silva 

Paranóia is a composition that evokes the feeling of paranoia through the layering of multiple influences condensed into a single piece, within a short span of time. The work incorporates elements of contemporary music, jazz, and African music, thus challenging traditional classifications. Its rawness emerges in the intense and visceral way creativity manifests itself, simultaneously rich and difficult to explain or categorize.

More than just a composition, Paranóia raises questions about the constant need to categorize what is art or craft, popular or scholarly, pure or impure, perfect or imperfect. The piece invites the audience to reflect on the chaos inherent in artistic creation and on the fluid and often arbitrary boundaries that frequently define what is considered art.

-Cláudio da Silva 

Reviʌǝꓤ, a title that can be read both from left to right and right to left, already suggests what to expect: a constant transformation and reinvention. The music, which explores this idea through different compositional techniques, including dodecaphony, reveals that everything can be viewed from different angles and interpreted in unexpected ways. The sound of the conch, with its organic and ancestral resonance, connects us to nature and the ancient traditions of humanity. The silences and breaths accompanying it create a space for introspection and reflection. In contrast, the bass clarinet, with its velvety and deep timbre, adds a layer of melancholy and sophistication to the piece. Reviʌǝꓤ is an exercise in deconstruction and renewal, a play between the familiar and the unknown, the traditional and the innovative.

-Cláudio da Silva 

Carnal delves deeply into the physicality of the human body. Here, "raw" signifies a direct confrontation with the materiality of flesh, what lies beneath the skin. The heartbeat rhythm sets the pace for the first part of the piece, revealing what is beyond the surface. The music is extremely intervallic and expresses the fragility of the body behind the sound of the instruments, alluding to the body, the hands, and the torso that enable creation.

This piece explores the vulnerability and strength of human flesh. On one hand, there is brutality, with improvised sections featuring a frantic, uncontrolled rhythm, contrasting with written sections and structured improvisations under a rationally pre-determined harmony. Carnal is a counterpoint between the animal body and the attentive, rational mind.

-Cláudio da Silva 

(...) our enemy is the body. Because the body is the one that attacks us. We are finally facing the most terrible of animals, our own beast, the beast that we are."

― Valter Hugo Mãe, A máquina de fazer espanhóis. 2010.

Canibal represents the raw and insatiable desire, where the consumption of the other is both literal and symbolic. This work reflects the brutality and primal force of hunger, the uncontrollable desire to possess and consume. The piece explores the destructive forces of desire, where what is consumed becomes part of the consumer, creating an eternal cycle of destruction and creation. Canibal is the personification of visceral need and the violation of boundaries, where carnality transforms into an act of survival and domination.

The music explores constant tension through dissonance and repetition, creating the sensation of running without ever leaving the same spot. There are various ways to interpret this piece, each reflecting the complexity of the internal struggle between primordial impulse and the limits of existence.

-Cláudio da Silva 

Transcendent explores the idea of spiritual elevation in a raw and stripped-down manner, offering a profound reflection on the duality between the earthly realm and the pursuit of the sublime. The work presents a striking contrast between elements that reflect the weight and counterpoints of the human experience and sections that evoke environments of lightness, elevation, and spirituality, creating a constant tension between the human and the divine, the concrete and the ethereal.

At times, allusions to traditional European melodies, such as the Westminster Chimes, intertwine with ethereal sounds that evoke a more primordial dimension. There are also faint, airy sounds that hark back to the oriental tonalities of flutes, such as the shakuhachi, a traditional Japanese flute associated with meditation and the spiritual practice of Zen Buddhism. These sounds enhance the sense of introspection and elevation, reflecting the tension between spirituality and the challenges of the human experience.

 -Cláudio da Silva 

The piece Cru is a synthesis of all the meanings explored previously. Here, Cru encapsulates the truth in its rawest and most direct form, without adornments or refinement. It is the culmination of all the previous explorations, where rawness is presented as the essence of reality—brutal, honest, and inescapable.

The music is characterized by an airy texture and a slow harmonic rhythm, with a complementarity between the two instruments. The melodies of the instruments intertwine in a Duetto-like counterpoint, which almost (Quasi) sounds like a Solo. This idea is further explored in the section where the instruments play nearly (Quasi) in unison.

 -Cláudio da Silva