Serafim plunges us into the vibrant world of Afro-Brazilian spirituality. Gilberto Gil weaves the sounds of agogô bells and hand-played drums into a lyrical ritual, calling on the mighty Ogum, the thunderous Xangô, the impetuous Iansã, the sweet-water Oxum, and the mischievous Exu. Each beat—described as “iron on iron” or “skin on skin”—mirrors the pulse of life and death celebrated in Candomblé ceremonies, where music becomes prayer, sacrifice, and celebration all at once. By naming the song after a “Seraphim,” an angel from Christian lore, Gil highlights Brazil’s cultural mix, showing how African deities and Christian symbols dance together in the same spiritual circle.
Underneath the festive rhythm lies a message of resilience. The refrain “pedra sobre pedra, tijolo sobre tijolo” (stone upon stone, brick upon brick) reminds us that, even when the “crossing” feels rough, faith builds communities layer by layer. The ijexá groove keeps the singer—and the listener—moving forward, confident that the song, the struggle, and the divine presence have no end. Listening to “Serafim” is more than hearing a tune. It is stepping into a temple of drums, voices, and hope, where every strike of the bell promises renewal and unbreakable continuity.