English version by Fernanda Marth and Vinnie Minotto.
Céu, a name that means ‘sky' in English, is a constellation of influences. Since her first album, Céu (2005), her plurality was clear. When she pays tribute to her idols or writes poetry, she does it with contemporary aesthetics that always points towards the future. Recognized beyond Brazilian borders, this act is one of the most solid singers and songwriters of her time. She released "Um Gosto De Sol" on the second half of 2021. The album is primarily made of Brazilian songs, but it also honors her international idols through a compilation that crosses decades and genres. "Chega Mais", by Rita Lee and Roberto de Carvalho, gets a new flavor, while "Deixa Acontecer”, originally recorded by Grupo Revelação, features a special participation of Emicida, and "Teimosa", by Antônio Carlos and Jocafi, brings falsettos of Russo Passapusso from BaianaSystem. It all is accompanied by Andreas Kisser, from the heavy metal band Sepultura, who surprisingly plays a nylon guitar. Pupillo, who is also drummer of Céu and Nação Zumbi, signs the album production. In the interview that follows, she states what inspired her to dive into the depths of music interpretation, how she sees Brazilian music and the importance of honoring the musical legacy here and around the world.
Photo: Érico Toscano
When did you realize that you could compose your songs?
It was a surprise… I didn't know I was a songwriter. And it was a process, right? When I started it was a world ruled by men, and suddenly I was entering a field that was not, shall we say, virgin, but little explored. A few women were composing and the relevance of Brazilian music compositions was always very focused on men. It was a challenge for me to understand that I wanted to enter this place as an author and also to believe that I was capable of it. I grew up in a very musical and strict family in this place of Brazilian musicality, very serious indeed. My father, a conductor, my mother, a singer. But that's how it happened, and I followed this path of believing and being honest with myself.
And what were the first topics you addressed?
I've always been into feelings that are common to everyone, you know? Stories of life, frustrations, love relationships, disappointments, stuff related to the human condition. I always wanted to be very earthy. Since that time I have already talked about feminism. "Lenda", for example, talks about the metaphor of a prince who needs to get smart so he doesn't turn into a frog. I was already working on things that are now super in. Anyway, I believe it was a starting point and I'm very proud of it.
Even being recognized as a songwriter, since the beginning of your career you have also done versions of other people's songs.
I've always actually played other people's songs. I think this worked as a link for my projects. Like a clue about the universe I’m in. And how was the curation process on "Um Gosto De Sol"? There are versions that go from the twenties to the present, crossing different genres. I think what I wanted was to tell a little bit about who I am, you know? It was a way to show myself to my audience, and also for those who have never heard of me, a little bit about my trajectory.
Because my place in the Brazilian music scene is complex. We don't have much room to explain, to say what we think about our composition. We live in a system that is very mainstream based. So I think that little by little, around the edges, in my way, I'll tell you what my influences are. I'm from São Paulo, so, for me, it makes total sense to say that I listened to a lot of Samba, and also a lot of Rock. Then I also became interested in the sounds of Jamaica. This is me. And then I think I found a way to connect the dots. I tried to focus on this picture of who I am today. I have two children, forty-one years old, several albums released, and a lot of history.
One of the interesting things about social isolation impact was being able to review memories. So I brought my different layers. I think that was the intention. Sounding more honest is the path I'm looking for, so that people get to know me and increasingly understand what my story is.
It's interesting this unity that you bring through songs that aren't yours. But of course, the moment you interpret them, you already print your identity. And that also happened with the guests on the album. I believe that Pupillo has a lot of merit in that. There's a technique that I think is very good for this, which is you always stay with the same band.
The entry of Andreas playing nylon guitar was a great idea too. Yes, I feel it has something to do with the desire to bring personality to the record. Having as the protagonist a nylon guitar, which is my favourite instrument of all, with Andreas playing. I have a deep respect for him, even though I confess don't understand anything about heavy metal, and that I always thought he was a sweetheart, I doubted he would want to be part of this crazy project. But, in the end, I think he liked to bring to life the incredible acoustic guitar player he is, besides being part of not only one of the most important metal bands in Brazil but one of the worlds. He is an amazing musician and has a great knowledge of Brazilian and erudite music. So I'm proud of this record and of bursting the bubble.
The same happened with Emicida in "Deixa Acontecer". He turned out to be a different singer than what we were used to hearing.
Yes, and he was also surprised with himself. It was amazing! He had already made a first voice recording but ended up losing it because of a storm. And then he spent a sleepless night and decided to sing again, and another Emicida came along, a singer he didn't even know.
And this record also talks about hope. Yeah, but I don't think it was a motivational exercise, you know? It was the result of a drastic and collective process for me. I think I regurgitated this record, let's put it this way because I didn't feel excited at all to write. Everything I wrote was very sad and I didn't feel inspired. I was dishevelled at home taking care of my children. The individual and the legal person became one. So I had no desire to write, I felt no hope. What I felt was very strong in Brazil, which is music as a great safe place and as a pilar. I turned to music many times to feel better. It is a power that only art has. And I thought a lot about this place of being an artist in a country that criminalizes art, that calls artists leeches of the government subsidies, and other nonsense and absurd things. So I think "Um Gosto de Sol" was almost a poetic/political response to prioritize, praise and honour artists from around the world. So I left the songwriter's place to go to the fan's place, praising whom I love.
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Céu also gave a speech for the radio show Lampeja Música on FM Cultura, which opens with the story of "Teimosa", the second track of "Um Gosto de Sol”
Akeem Music - Jorge Bem, Presidên
#PlayedSongs:
Céu + Russo Passapusso - Teimosa
Martinho da Vila + Djonga - Era de Aquarius
Alessandra Leão - Borda da Pele
Elba Ramalho - Casa, comida e Paixão
Duda Brack + Ney Matogrosso +Baiana System - Ouro Lata
Luedji Luna + Zudizilla + Nave + Fejuca - Ameixa
Maurício Pereira - Florida
Manu Gavassi + Tim Bernardes + Amaro Freitas - Gracinha
Gilsons + Julia Mestre - India
Nara Leão - Outra vez
Marina Sena - Por Supuesto
Jorge Ben - Que Nega é Essa
Dona Conceição - Amor e água
Elisa Terra - Bússola
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