[2][3][4] It is their first studio album with session drummer Mario Fabre, who replaced Charles Gavin, their last with vocalist and guitarist Paulo Miklos, who left the then quartet in 2016,[5] and also their first release through Som Livre and producer Rafael Ramos.

[7][8][9] The lyrics are also more bitter, dealing with topics such as pedophilia, police brutality, violence against women, sexual, racial and social discrimination.

When asked about the future projects of the band, keyboardist, vocalist and bassist Sérgio Britto stated that Titãs would prepare a new album in 2011.

While recording a new video for their song "Cabeça Dinossauro" as part of the soundtrack for the Brazilian film Vai que Dá Certo, they informed Mônica Bergamo that they would start essaying for their new album, then expected for the second half of that year.

[18] At the time, Britto commented:[18] It'll be a mixture between Cabeça [Dinossauro] (1986) and Õ Blésq Blom (1989), as it was possible, for us to guide ourselves, for us to have a aesthetic target.

[14] Around the same time, Sérgio Britto stated that the band asked Andreas Kisser to produce the album, but he couldn't accept for conflicting schedules with Sepultura.

[20] In March, radio Globo FM informed that the album would be released in April via Som Livre and would feature 14 tracks.

[27][28] "República dos Bananas" was co-written by bassist/vocalist Branco Mello, cartoonist Angeli, o actor and director Hugo Possolo and Titãs' ex-session guitarist Emerson Villani.

[29] The song received a promotional video made with illustrations by Angeli himself, including depictions of himself, Titãs' members and the people mentioned in the lyrics.

[30][31] In order to write "Fala, Renata", Bellotto conceived a fictional female character inspired by early MPB songs that were named after the women covered in their own lyrics.

When asked if he believed that was a message for him, Lobão wrote the following note on his tumblr:[33] I don't have the slightest musical/artistic interest nor personal link with these gentlemen.

Since the track was created when the Brazilian military government faced its decline, the band felt it would fit the album's purpose.

[39] "Eu Me Sinto Bem" features lyrics that fall out of the general scope of the album, so the band "compensated" this by adding frevo and ska rhythms to keep its brazilianity.

[e][44] Nheengatu received generally positive reviews from music critics, with all of them drawing comparisons with the band's older albums (specially Cabeça Dinossauro, Jesus Não Tem Dentes no País dos Banguelas and Titanomaquia).

[7] He also praised the album's sound, which is, according to him, reminiscent of Cabeça Dinossauro, Jesus não Tem Dentes no País dos Banguelas, Tudo Ao Mesmo Tempo Agora and Titanomaquia.

[47] He also stated that "here, Titãs take down a prejudice that was growing strong with every album released by an eighties' band: the idea that the strength or rock and roll had its days numbered, and that nobody above their 35s could make it as they did at their twenties.

[49] André Rrodrigues of the Brazilian edition of Rolling Stone considered Nheengatu Titãs' best album in years[9] and also heard similarities with Cabeça Dinossauro and Titanomaquia.

[48] Omelete's Kaluan Bernardo called the album "good, sincere and urgent" and stated that Titãs are the "true survivors" (in reference to the line "quem vive sobrevive", from the track "Cadáver Sobre Cadáver", which translates as "who lives survives") for them being still active even after losing half its members and being neglected after Sacos Plásticos.