Singer expands BRLS universe with 11 tracks that mix synthesizers, pagode and R&B in a mature work that dialogues with past and future
Lucas Carlos He no longer seeks a “Romance Love Show”, at least not in his personal life. But his lyrical self continues to search — and that is exactly the theme of the first deluxe of his career, released last Thursday, the 22nd.
This isn’t just a deluxe in the traditional sense. It is an expansion of the universe created by the singer, which presents the meeting of two Lucas — the melodic one we know and the futuristic one that is being born — to tell a new chapter of his life.
In the first version of BRLS (2024), he exposed his wounds with the rawness of someone who needed to get it out of their chest. Now, in the deluxe, he tells how the scars were created and shows that there was hope at the beginning of it all. There are 11 tracks that function as an expanded prologue, revealing what happened before the original album.
What is fascinating here is, once again, the courage not to choose a single path. While most artists opt for a clear sonic direction, Lucas has always chosen variety: from R&B to pagode, trap and, now, electronica.
With just one participation — Trinidad Cardona in “everywhere” —, the record proves that Lucas He reached that place that every artist seeks: not needing anyone to validate his art. He carries 11 straps on his back alone because he has two versions of himself to share the weight. The result is one of the most cohesive and cinematic works of his career.
With production signed by names like Ship and Doomthe album is bolder and willing to explore new textures, without abandoning its essence and conviction of what it is doing.
Dois Luccas: acoustic and synthesized
The first moments of “NEON” They start with the usual: slower and more melodic R&B. But little by little he takes risks — synthetic timbres in the pre-chorus, vocal layers, electronic beats — and, at the end of the first song, we already understand what it’s going to be like from now on.
This is repeated in “SPELL”where Lucas it starts delivering soulful R&B, until electronic synthesizers enter the chorus that give the song a different face and restore the spirit and desire to move, even if it’s simulating keyboards wherever you are. Already “MONSTER” has a heavy bassline, very inspired by Thriller (1982), which closes the highlights of this new Lucas.
In addition to the legendary album by michael jacksonother influences are evident, such as Dawn FM (2022), by The Weeknd, Dopamine (2025), by Lil Teccaand other international artists. All the references mix organically, forming a work that sounds modern, but warm; experimental, but tailored.
There are also songs for those who like the old Lucas. The only single released, “just (one more) time”it’s more stopped and sounds like a return to the album One (2017), one of introspective early mornings, of loves that left marks, but also lessons learned. The track is guided by a clean and melancholic instrumental, where each break seems to say as much as the lyrics.
And there is also “song I couldn’t make”which shows his even more sincere and emotional side. The track is a melodic gem, full of vulnerability and honesty in the lyrics — the kind of composition that only Lucas old one would know how to write, but the new one Caslu plays with a maturity that moves.
Between these two extremes, the pulsating electronic and the sentimental almost acoustic, the deluxe builds a cohesive sonic narrative. Although other tracks such as “colored water” and “MINIMUM”don’t draw so much attention — perhaps due to the lack of originality already seen in the previous ones —, they don’t ruin the experience. They are just a little lower.
Finally, Lucas Carlos added two bonus tracks to the project. The first, “everywhere”it’s funk with Trinidad Cardonawhich even ventures into Portuguese and gives more space to the sensuality of the lyrical self. It’s a light track, with a catchy chorus, that could easily play on radio in Miami or Leblon. The meeting between the two artists has chemistry and sounds natural — like everything on this album.
Already “in peace” ends the project with the simplicity that only the pagoda allows, like someone laughing after crying. It’s the perfect ending to an album that talks about losing yourself, finding yourself and continuing to dance — even when love is no longer a search, but a state of mind.
A whole story to come
Between synthesizers, garage beats and moments of pure introspection, Caslu consolidates its position as one of the main R&B references in the country. This fusion between the melodic and the danceable, the synthetic and the guitar, shows his ability to reinvent himself and translate vulnerability into groove and self-confidence into melody.
And if the deluxe is the prologue, the future of Lucas Carlos promises to be the climax. After the new project, the singer seems to want to build a quadrilogy, an expanding narrative universe where each release dialogues with the previous one — not just musically, but emotionally.
For now, we only know the first two chapters, but we can already be sure that the Caslu has a lot of good stories to tell.
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Lucas Carlos
Source: Rollingstone
Rose James is a Gossipify movie and series reviewer known for her in-depth analysis and unique perspective on the latest releases. With a background in film studies, she provides engaging and informative reviews, and keeps readers up to date with industry trends and emerging talents.
