Titanomaquia

Between the previous album (Tudo ao Mesmo Tempo Agora) and this one, vocalist Arnaldo Antunes announced his departure of the band, which caught the members off guard. Vocalist and bassist Nando Reis would later say that this separation would plant a seed in him that would later become his own will to leave, as well. According to him, guitarist Marcelo Fromer also expressed a wish to leave back then.[6]

Reis would also say that it was in this album that his "isolation" within the band became obvious because, according to him, none of his suggestions would be accepted; the band insisted that he simply doubled the guitar riffs with his bass (which would contradict his "musical reasoning"); and he only sang on one of the tracks, while each of the other three vocalists sang on four.[6]

The album was conceived in times when part of the Brazilian press considered rock from that country - as it had been done in the 80s - dead.[1] Besides, according to Reis, the sessions were tense and the album's aggressivity reflects that.[6]

Reis and a news story by Folha de S.Paulo state that drummer Charles Gavin was the one to suggest inviting Jack Endino, mas Gavin himself says it was the whole band's idea after researching then recent albums and agreeing on Endino.[1] Still in bad terms with producer Liminha, they started a search for a foreign name that would match their increasingly more aggressive sound (they believed no Brazilian would be able to do what they wanted[4]). After checking then recent albums, they agreed Endino would be an interesting name, both for his work with heavy rock bands (Nirvana, Soundgarden, Screaming Trees and his own group Skin Yard) and for his association with the independent scene, which made him more affordable. Their label recommended they chose a second name in case Endino refused, and they came up with Butch Vig, who succeeded Endino in Nirvana and produced the legendary Nevermind.[6]

Through their label WEA, they sent him their Õ Blésq Blom album. Endino was initially confused as to why a band with such a sound was willing to have him produce their album, but once the band sent him newer songs, he became interested. :[7][8]

It became clear that they really wanted to make rock 'n' roll with strong guitars, and the closest they have ever gotten to such idea, so far, was with Cabeça Dinossauro. I went to Brazil and started to realize exactly what they were planning to do, and the album leaned towards more of a "hard rock" side. [...] I know that it divided Titãs fans, but many of them, ten years later, still want Titãs to record another "hard rock" album such as that one. I'm sure, because I receive many e-mails from fans.

He also listened to Cabeça Dinossauro and Tudo Ao Mesmo Tempo Agora before starting his works.[1] By the time of the album release, he claimed to find it "very interesting that they were willing to do the reverse of what was normally done - which is to go from more radical rock to pop".[1][8]

According to Reis, the initiative to make the band sound increasingly heavier was led by vocalist Branco Mello and keyboardist/vocalist Sérgio Britto.[6] the latter said in an interview around the time of the album's release that "the last album was only the disruption that allowed the creation of Titanomaquia".[9]

When the album was released, the group rejected the "grunge" label and comparisons with Nirvana.[10]

About Antunes's absence, Endino commented that the mood among the band wasn't tense and that the group, still a seven-piece band, was not upset about the member's exit, although they still showed much care for him.[7] He spent at least 44 days creating the album with them.[11]

The band recorded English language versions of some tracks of the album for a possible international release.[1][6][12] The versions were penned by Brian Butler, then their co-worker at Banguela Records (which they had recently founded).[6] Reis, Britto and Gavin say only some tracks were recorded, possibly the ones originally sung by Britto ("Agonizando", "Fazer o Quê" and "Será que É Isso que Eu Necessito?"),[6] but a news story by Jornal do Brasil says some members flew to the MTV Video Music Awards in Los Angeles with a demo tape containing 11 tracks. One of the songs that got left out was "Dissertação do Papa Sobre o Crime Seguida de Orgia", since the band translated the lyrics literally, but within the "limit of the possible".[13]

The tape would be handed to Endino, who suggested the versions himself. The group admitted that they were contemplating an international career, although they admitted it would be very difficult.[9] Later, Endino himself discouraged them, stating that there were "100 bands around every corner" in the United States.[6]

The cover, once again created by Fernando Zarif, brings a collage of seven colors (each representing a member) and came involved by another cover, this one black, as if the album were wrapped in a bin bag.[6]

The first title considered for the album was A Volta dos Mortos-Vivos ("The Return of the Living Dead"), but the band couldn't afford the rights for this name, which was already used for a 1985 film.[1] It was Zarif who suggested using the term "titanomachy", the war between the titans and the gods of Greek mythology.[14] According to Reis, the term is representative of the war Titãs lived back then: the one between the group and the press and the one between himself and the six other members.[6]

• Jack Endino - Guitar (final chords in "Agonizando"), rhythm guitar and feedback in "Disneylândia"