top of page

She was in this dark place when she showed one music that she started to compose to a person she had known for a short time. It was Lucas Vasconcellos, at that point already invited to be the album's producer. Soon after, the song “Mil nãos, um sim” was concluded, and the album's title name was born.

The finely tuned dialogue between the two resulted in the ten collaborations that appear on the Album. She arrived with the inception, the lyrics, the idea, an outlined melody. They would finish it together. Lucas would then construct the musical arrangement, with minimalistic details, delicately exploring acoustic and synthesized sounds, with moods that convey a weightless drama. Lucas played almost all the instruments, with the exception of the drums, played by Thomas Harres, while in “Mil Nãos, um Sim” played by Roberto “Mousey” Thompson, who for years played with James Brown. Cimi knew him, and while recording the album, decided to extend an invitation. He loved the song, and the result Is in the album.

The outset was always the same – the solitary process in a dark room. From there, the songs emerged from a dream, like “Bicho Tenso” ("The Tense animal/ wants to escape/ No matter the terrain/ He flies , He runs / Dives / Forgets"), and “Acordei” ("Today I woke up from a dream/ A dream in black and white / When I looked around me / Everything was there, except for you"). Or from free flight of the mind, like “Vou indo” (“A sad song from a happy person” defined by Cimi). Or watching a video of a wedding, in “Eu sou um cavalo” (“At the start I laughed and found it cheesy, by the end I had a song and was crying”)

The poetry that traverses the album carries this trait of the boundary between  light and dark in her room, her mind. In the simple and direct verses, without fireworks, there is always the imminence  of a change, a break, a jump. “Vou indo” amid choruses of “u-u-u” and “pa-pa-pa”, is “I will be happy/ I am happy/ You didn't want to / So I'll get going”. Above the of “Da Medo” , the percussion is a breath of “frevo” amid a Radiohead tone in the music, she sings: “I want to see where I am / Where I was, Where I'll go / I'll fly away / And Laugh”.  The contemporary elegance of language in “Cala tua boca” serves as a bed  for verses like "Suitcases/ Opened / Life thrown on top of the bed”.

Cimi constructs, through fear and desire, the idea that appears at the beginning of the song that served as a catalyst and inspiration for the title of the album, “Mil nãos, um sim”: “I want to go / But I will not / I can go / But where I am / I'm fine”. A comfortable place,  without an ever present movement, with potency. Like something that arises from the dark.


Leonardo Lichote 

bottom of page