[7][8] Describing the album's sound, Philip Sherburne notes "the hardscrabble guitar-and-drum interplay; the horns, betraying the faintest hint of two-tone ska; and above all, her impossibly malleable voice, like a scrap of sandpaper turning into a tsunami.

"[4] Sherburne similarly describes the album's combination of "Afro-Brazilian styles with wiry, dissonant strands of punk and noise-rock, where the Ex mingles freely with Tom Zé.

"[5] Thom Jurek describes the track "Pra Fuder" as "electro-acoustic samba [...] framed by a clattering, bleating acid funk that recalls the Pop Group as it meets Fela's charging multi-horn grooves and swagger."

"The album doubles as a portrait of contemporary Brazil—" he continues, "a country beset by crises, including corruption scandals, the worst recession in over a century, a wave of police brutality, and a rising tide of anti-gay violence.

"[5] The song "Pra Fuder" ("To Fuck") is described by Mercer as follows: "It's like after decades of strolling along as an object, the girl from Ipanema finally marched over, grabbed the guitar and sang her own wild desires.

"[1] "Benedita" features a "multi-part narrative detail[ing] drug addiction, persecution of transgender and poor people by the police and celebrates the holiness of the oppressed.

"[5][3] The opening track "Coração do Mar" adapts a poem by Oswald de Andrade described as "a melancholy, imagistic meditation upon loss and slavery that becomes, in [Soares'] weary recitation, something like an inverse national anthem.