In the most recent novelty on the Brazilian music scene, Raffael Emilio launches “Todo Som”, a track that breaks conventional barriers and invites the public to a distinct listening experience. The song, which combines sambajazz , groove and rock, seeks to celebrate the essence of everyday life in Brazil, paying tribute to the roots of national music.
“Todo Som” not only stands out for its innovative composition, but also for its authentic production, led by Raffael Emilio himself. The artist sets out to create a space where the past and present meet, encouraging a renewed appreciation of Brazilian musical icons and the emotions that popular festivals and musical gatherings evoke.
Complementing the musical experience, the music video for “Todo Som”, directed by Crial da Canis Filmes, delves into the feelings of longing and connection inherent to Brazilian celebrations. Through this work, Raffael Emilio not only challenges the limits of what music can be, but also reaffirms the importance of celebration and cultural authenticity.
“Todo Som” challenges conventional music structures by proposing a non-linear auditory journey. How did the idea of creating a song without a chorus and with repetitions come about, conveying a feeling of “strangeness” and “without resolution”?
In a time when less is more, making this move is a big step for me. In “Todo Som” I wanted to make things difficult, at least in my head. Starting and ending the song with an intriguing convention, using a trumpet without other wind instruments, making a section alone, in short, it was quite challenging to be the composer and at the same time producer of this song. I like many different musical rhythms and genres. That’s why I always want to work on my perception and creative freedom. I want to change all the time, for myself. That’s why I intend to walk whatever path I take to build a solid audience. In search of familiar strangeness and desired beauty. And for that I’m in no rush.
You mention that the song is a tribute to the pillars of national music and celebrates Brazilian everyday life. What are the main influences and references that you brought to this composition?
There are some influences that were very present in the construction of the lyrics and arrangements of this song. The presence of rock brings a lot to the irreverence of the group Os Novos Baianos, where in the 70s, greatly influenced by the presence and art of João Gilberto, they were able to imprint a young and sagacious thought, sometimes explosive and sometimes calm. Uniting all of this with the driving force of the guitar and Brazilian song. As the lyrics were not written firsthand, that is, I wrote them over a period of months, the idea of a past Brazil, aware of its countless musical languages, began to dawn on me, as if there was a nostalgia for a time in our music. in which I did not live. A real longing.
In the music video for “Todo Som”, we see a narrative that portrays an “I” in artistic construction, which ends up becoming a root of Brazilian music. What was the process of creating this concept like and what message did you want to convey through this visual?
I think every artist has the dream of being a great reference. “Todo Som” was my way of talking about Brazilian music in a visceral and unpretentious way. An artist’s career is long, it mixes with real life and in the music video I dream about these things, about the longings, the desires. Bringing album covers by artists who are references to music here, denotes an almost naive desire to be part of this, dreaming of being a big name in the old MPB, in a time that is not theirs.
What was it like working with director Crial , from Canis Filmes, in designing the music video? What were the main challenges faced during production?
Crial and I had several meetings until we arrived at the final script and I feel like we managed to convey the message that the song asked for. One of the biggest challenges on the day of recording was the uncertainty of the weather as on those days the rain was present and relentless. Water all week. In the end we had great joy, which was witnessing the “dreaded” rain in the last location, which was light and crowned the final scenes of the clip, where almost like a ritual, I sing around people represented by these artists, printed on the covers disk. Showing that Brazilian music is indeed my foundation.
The song and music video for “Todo Som” convey a sense of longing for Brazilian festivals and the human connection they represent. How do you hope listeners and viewers receive this message?
I hope the public identifies with this feeling of affection that we only have in Brazil. In all my visits to countries in Europe and Latin America, I have not witnessed the warmth of affection that can only be found here. Our music is almost a ticket to detachment from everyday life.
You mention the desire to arrive on Friday, meet people and experience daily Brazilian life to the sound of drums and popular festivals. How do you think music can inspire people to reconnect with these aspects of Brazilian culture?
I believe that one of the main functions of “Todo Som” is to leave the audience suspended. It’s listening to a familiar melody, remembering our different rhythms, parties and demonstrations and at the same time being crossed by the irreverence of the guitar solos. In the music video, bringing these artists to the center of my conversation. From Carlos Lyra to Jovelina. From Wilson Simonal to Sivuca.
“Todo Som” reflects his search for authenticity in music. How do you define authenticity in your art and how does that manifest in this particular track?
Authenticity is having a little impulsiveness in you, having courage, letting go of judgment and trusting. Starting from a zero point and inserting references, until the moment you can create something familiar from a starting point that until now only existed in your head.
I don’t claim to be innovative, but I have the desire to compose, produce, arrange and play without constraints, to really create. In favor of music, always. In the song I mention music as my religion. So it is.
The record of “Todo Som” merges 3 rhythms: sambajazz , groove and rock. What was the process like of merging these styles and creating a cohesive and unique sound?
This is a strong keynote of my new moment as an artist. Mix genres and aesthetics both in show formats and in the general concept of creation. Not getting caught up in labels is extremely important to me. I want the listener to always be crossed by doubts and nostalgia, this makes me always cling to the new.
You mention the importance of exploring artists from the past while delving into the emotions evoked by popular festivals. Which past artists have influenced you the most and how have they contributed to your music?
During the period in which I began making “Todo Som”, I was beginning an in-depth study of the figure and work of João Gilberto. Artists such as Roberto Mendes and samba chula, the climate of the Recôncavo Bahia, all of this was present. Rock in music it represents my past as a member of hardcore bands, it represents the street, rebellion and Jards Macalé was a great reference in this sense.
“Todo Som” is a song that challenges conventions and proposes a unique listening experience. How do you hope this track will be received by the public and what impact do you hope it will have on the Brazilian music scene?
What I really want is to carry out the projects I have. Record albums, clips, shows and meetings. Little by little build a solid foundation where I can be recognized for my irreverence. “Todo Som” is a Brazilian mix and that is my desire: to blend into the tribes, be a chameleon, challenge the ears and question structures.
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