A familiar presence on this blog, Fortaleza-based, Brazilian singer/songwriter Aerson Moreira, AKA Anum Preto, keeps on churning strictly self-produced, via his own label Miado Rouco Records, endearing and intriguing heartfelt tunes with soul-stirring lyrics, this time with Nietzsche-sque undertones, strongly inspired by 80s Post-Punk and New Wave with suggestive Northeastern Brazilian folk inflexions in the vocal-style.
Second, in Anum Preto‘s plan to release a song a month, “Além do Bem e do Mal / Beyond good and evil” unravels forlorn nostalgic memories and misunderstood alienation, steeped in a dizzying weave of alluring fatalist confessional lyricism and shimmering post-punk angularity, tinged with subtly bewitching melancholy, relentlessly blurring the line between shadows and lights, while shirking off the lingering pain of depression.
“Além do Bem e do Mal” sparks off steady perky drum beats and winding silky bassline pulses beneath layers of soaring, chiming guitar glistens that flutter with heartsick intensity atop sad, numb, nostalgic male vocals longing with malaise and isolation through a mercurial whirlwind of bittersweet melodies.
On that note, different periods and sonic realms, same sensibility, a Bossanova song, sung by Antônio Carlos Jobim, titled “A felicidade” (“Happiness”), with lyrics by Vinícius de Moraes, composed in 1958 for the French film “Orfeu Negro”, directed by Marcel Camus, starts with :
“Tristeza não tem fim. Felicidade sim” (“Sadness has no ending. Happiness does”).
A fun video clip taken from Xclusiv Nightclub‘s “The Height Of Goth” (1984) will take you back in time with retro fashion and dance moves.
Keep up with Anum Preto: