It’s spring in Brazil. Funny period for the country, where it is difficult to distinguish what flowers from what withers, what withers from what flourishes. The rebirth of the “phoenix” Lula, elected on the wire president, on October 30, was less resplendent than expected; conversely, his zombified rival, Jair Bolsonaro, continues to agonize. Eyes riveted on a world above ground, the Brazilians do not know whether to hope or despair of their selection, who finds his football only in jerks. Another source of longing – as Brazilians refer to the combination of joy and nostalgia that often seizes them – the death of two singers, Gal Costa and Erasmo Carlos, on November 9 and 22, at 77 and 81 years old, has revived the memory of a certain musical golden age, which evaporated with the 1970s.
At this price, it is tempting to serve again the eternal prediction of the Italian philosopher Antonio Gramsci: “The old world is dying, the new world is slow to appear and in this chiaroscuro the monsters arise. » If it is only instead of a monster, it is a young maestro who tumbles to offer the season its appropriate soundtrack. I named Tim Bernardes, 31 spring, slim waist, ditto mustache. It turns out that the rascal collaborated, in the evening of their life, with the two deceased – intervening on the last albums of Gal Costa, as songwriter, arranger or interpreter, and co-signing with Erasmo Carlos the ballad Pragueone of the peaks of the last disc of the diva Alaide Costa.
It happens above all that Tim Bernardes released, on November 18, in physical format and, a few months earlier, on digital platforms, his second solo album, thousand invisible things. The cover shows him, all dressed in white and green, suspended between earth and sky. The splendid opening track, Born, live, die, is fitting. “I tell you that we can be born, live and die simultaneously… I am particularly inspired by the cycles”, indicates the Brazilian, passing through Paris, mid-October.
“Singing the presence in the world”
In 2017, his first album opened and closed with the title track, Restart (” restart “). A series of aubades and longingwe wrote at the time, without suspecting that the next album would carry this art of counterpoint much further. « Restart plunged with melancholy into the sorrows of love. thousand invisible things is less introspective, more metaphysical. With the pandemic, I focused on being rather than doing or having. I wanted to sing the proliferating daylight, the wonder of being alive, the presence in the world. »
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