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"... Vitor Araujo 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 (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 . . . It is not possible in this work, called Levaguiã Terê, to trace a final frontier between the classical and popular experiences, among the track list or even internally in the tracks. In terms of genre, the album could even be classified as eletro-acoustic, since this compositional school operates easily with organic and synthetic instrumentation. However, the great orchestral writing, the heavy percussion element, the instrumentation and counterpoint elements, the harmonies and vocal arrangements, and the thematic and phraseology marks of the composer wouldn't be designated to justice by this genre denomination. For the same reasons, the elements of electronic music, that subvert and act over the acoustically recorded material are mostly ordered by the pop music model, and not the classical ones, this last one not antagonizing the first. Thus, Levaguiã Terê is inserted in a disruptive way in the phonographic industry's current streams . . .It is possible to risk saying that this language and sound aesthetic hybridism born in Levaguiã Terê seems to yearn the utopia designed by Alex Ross in his 2004 article Björk's Saga. The utopia 'of a future world in which the ideologies, teleologies, style wars, and subdivisions that have so defined music in the past hundred years slip away.'" --Sílvio Moreira, M.A. in Philosophy, Professor of Aesthetics at the Faculdade Souza Lima & Berklee College of Music
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