100 , Fernando Pessoa
feat. João-Miguel Estômago-Esperança
Autopsicografia
Le poète est un feinteur qui feint si parfaitement qu'il feint même la douleur qu'il ressent vraiment. Le poème en trois strophes de Pessoa clôt l'album en portugais.
The poet is a feigner who feigns so completely that he even feigns the pain he truly feels. Pessoa's three-stanza poem closes the album in Portuguese.
O poeta é um fingidor.Finge tão completamenteQue chega a fingir que é dorA dor que deveras sente.
Le poète est un simulateur.Il feint si complètementQu'il en vient à feindre qu'est douleurLa douleur qu'il ressent vraiment.
The poet is a feigner.He feigns so completelyThat he even feigns as painThe pain he truly feels.
E os que leem o que escreve,Na dor lida sentem bem,Não as duas que ele teve,Mas só a que eles não têm.
Et ceux qui lisent ce qu'il écrit,Dans la douleur lue sentent bien,Non pas les deux qu'il a connues,Mais la seule qu'eux n'ont pas.
And those who read what he writes,In the pain they read feel clearlyNot the two pains that were his,But only the one they do not have.
E assim nas calhas de rodaGira, a entreter a razão,Esse comboio de cordaQue se chama o coração.
Et ainsi, sur ses rails circulaires,Tourne, pour divertir la raison,Ce petit train mécaniqueQu'on appelle le cœur.
And so, along its circular rails,Turning, to entertain the reason,Runs that little wind-up trainThat is called the heart.
“Autopsicografia”, Fernando Pessoa (1888–1935)
O poeta é um fingidor.Finge tão completamenteQue chega a fingir que é dorA dor que deveras sente.
~ ~ ~Finge…(finge…)Dor…(dor…)~ ~ ~
E os que leem o que escreve,Na dor lida sentem bem,Não as duas que ele teve,Mas só a que eles não têm.
~ ~ ~Finge…(finge…)Dor…(dor…)~ ~ ~
E assim nas calhas de rodaGira, a entreter a razão,Esse comboio de cordaQue se chama o coração.
~ ~ ~Finge…(finge…)Coração…(coração…)~ ~ ~
Ah…Ah
O poeta é um fingidor.Finge tão completamenteQue chega a fingir que é dorA dor que deveras sente.
~ ~ ~Finge…(finge…)Dor…(dor…)~ ~ ~
E os que leem o que escreve,Na dor lida sentem bem,Não as duas que ele teve,Mas só a que eles não têm.
~ ~ ~Finge…(finge…)Dor…(dor…)~ ~ ~
E assim nas calhas de rodaGira, a entreter a razão,Esse comboio de cordaQue se chama o coração.
~ ~ ~Finge…(finge…)Coração…(coração…)~ ~ ~
Ah…Ah
J'ai voulu une chanson bonus en portugais, pour faire un hommage au pays où je me trouvais pendant la création de l'album.
I wanted a bonus track in Portuguese, as a homage to the country where I was while making the album.
Le poème boucle aussi la boucle : un poète, de toute façon, ne fait que semblant. Manière de dire que tout ça – l'album, les poèmes, l'IA générative – ne sert à rien, n'est que du vent ; juste de quoi passer le temps. Je serai peut-être à jamais le seul à écouter cet album, ou à lire ces lignes... J'aime ce côté dérisoire de la création.
The poem also closes the loop: a poet, after all, only ever pretends. A way of saying all this – the album, the poems, the generative AI – serves no purpose, is just wind; merely a way to pass the time. I may forever be the only one to hear this album, or to read these lines… I love that absurd side of creation.
Pour les derniers titres, j'ai aussi « bloqué » la numérotation : 20, vin, vain, vie, mort… puis 100, sang, sans – qui marche même en portugais, cem, sem. Parce que ça m'amuse, et parce que la beauté de créer, c'est de faire exactement ce qu'on veut.
For the final titles, I also “locked” the numbering: 20, vin, vain, vie, mort… then 100, sang, sans – which even works in Portuguese, cem, sem. Because it amuses me, and because the beauty of creating is doing exactly what you want.
J'ai donc laissé l'IA faire à sa guise, elle aussi, et gardé cette version aux paroles dédoublées : c'est comme ça que l'itération choisie était dès le départ.
So I let the AI, too, do as it pleased, and kept this version with the doubled lyrics: that's how the iteration I chose came out in the first place.
Enfin, les lusophones feront sans doute le lien entre João-Miguel Estômago-Esperança et Jean-Michel Tripes-Hope, son alter ego francophone.
And lusophone listeners will surely connect João-Miguel Estômago-Esperança with Jean-Michel Tripes-Hope, his French-speaking alter ego.
dark but elegant trip hop around 96 BPM, steady groovy drum pattern with tight dry snare and deep warm bassline, long instrumental breaks, subtle vinyl texture and vinyl crackle throughout, minimal electric piano chords and soft analog pads, hypnotic loop structure, intimate European-Portuguese male lead vocal in mid register (not too deep, not operatic), emotional but controlled melodic singing, no spoken word, subtle vibrato allowed but restrained, featured female vocal appearing in refrains with airy layered harmonies and soft vocalises, male vocal only for verses, cinematic nocturnal atmosphere, restrained dynamic build, no pop brightness, no EDM elements, cohesive with a dark poetic concept album, contrast between grounded male verse and floating female refrain