Nyron Higor

アラゴアス州の州都マセイオで、経済的に貧しい家庭に生まれた若き黒人音楽家ナイロン・イーゴルは、ブラジル北東部の伝統音楽と黄金期MPBの伝統を継承したローファイでインティメイトなベッドルームポップを奏でる作曲家/マルチ奏者だ。自主制作したデビュー作『Fio de Lamina』は配信のみにも関わらず、ミスター・スクラフ、ジャイルス・ピーターソン、ジョン・ゴメスらがフェイバリットにあげるなど、にわかに注目を集めていたが、このたび待望となる世界デビュー盤を Far Out からリリースする。

共同プロデュースを手掛けたのは一足早く世界デビューを果たし、いまやブラジル次世代を担うシンガー・ソングライターとして注目を浴びるブルーノ・ベルリ、そしてブルーノの右腕ともいえる気鋭プロデューサーのバタータ・ボーイだ。近年サンパウロを拠点としている彼らだが、そのフレッシュな感覚ゆえコラボレーターとしても活躍を見せている。その一環として同じマセイオ出身のイーゴルをプロデュースしたというわけだ。

アルバムのオープニング曲「Ciranda」は、その名の通りシランダのリズムで雰囲気を盛り上げ、物憂げなトロンボーンとメランコリックなアコースティックギターのハーモニーが、インティメイトかつ壮大な雰囲気を醸し出すトラック。デビュー曲のインストゥルメンタル・サウンドをベースに、遊び心のあるオルガン、鳥のさえずりのような口笛、エレガントなアコースティックギターが奏でる「Louro Cantador」は、イーゴルのメイン楽器であるベースの優しい鼓動の中で、各楽器が躍動しながら自然の美しさを表現する。先行シングルの「Sao So Palavras」は、NY在住のブラジル人アリシ・ソルとブルーノ・ベルリをフィーチャーしており、1分半という短い瞬きに、若き恋の軽やかさ深さを捉えてみせる。

その音楽は当然ながらブルーノ・ベルリにも通ずるが、インストゥルメンタルの割合が多いぶん、イーゴルの音と静寂に対する鋭敏さが際立つ。深くパーソナルな感覚と普遍的な共鳴、その双方を感じる場所へとリスナーを引き込む極上の桃源郷サウンドは、ブルーノのファンにはもちろん、同じマセイオ出身のイタロ、そしてレオナルド・マルケスのリスナーにまで推薦だ。

Nyron Higor is singer/songwriter, producer, and multi-instrumentalist from Maceio, on Brazil’s northeast coast. His music cuts across MPB (Musica Populaire Brazil), samba, Brazilian jazz, hip-hop, R&B, EDM, and more. This eponymously titled album follows 2022s instrumental Fio de Lamina; it was widely celebrated in German and English clubs, thanks to DJs including Gilles Peterson, Mr. Scruff, and John Gomez. This second album takes its inspiration from the golden era of MPB (the 1970s). Higor branches out. Despite its 24-minute length, it enfolds and mixes deep Brazilian roots with global influences and contemporary production to create a quietly dazzling exploration of harmony, rhythm, and lyrics in a work of resistance from a young Brazilian Black man. Seven of these tracks were recorded in Maceio; the remainder in Rio de Janeiro. Higor, Bruno Berle, and Batata Boy co-produced the set. Opener "Ciranda" employs a samba snare shuffle under a muted jazz trumpet, electric piano, nylon-stringed guitar, synth, and percussion. Its lilt and melody are lush over Higors warm, sensual textures and ambient space. (He plays all the instruments on the tune.) "Louro Cantador" blends samba and jazz with drums, bass, keyboards, guitar, loops, and percussion. It sounds like the peak of summer. The albums mid-section offers three vocal tracks. "Sao So Palavras," featuring Alici Sol and Berle, is fueled by a rock snare shuffle that frames Berles bassline and duet vocals, while Sol relates the heartbroken lyrics as Higor plays everything else while coloring in breezy, midtempo MPB grooves. The songs protagonist begs her beloved to stay away, because she will surrender each time he beckons. "Estou Pensando Em Voce" features Johanna, Berle, and Higor on alternating lead and chorus vocals. It commences with a reverbed tom-tom loop painted by acoustic guitars, piano, programmed percussion, and a bassline that feels like an embrace. "Maravilhamento" (translation: wonderfully) is performed by Higor playing all the instruments and Nathalia Grilo offering spoken and sung lyrics atop a collage of organs, synths, layered guitars, electric bass, and drum kit. While its rhythm reflects MPBs sense of rhythmic flow and syncopation, the architecture is dreamier and neo-psychedelic; its lyrics reflect passion as the instruments swirl and hover around them. "Som 24" is a delightful intersection of funky jazz and MPB. Governed by percussion and drum loops, shimmering electric guitars, synths, and keys, they offer impressive harmonic interplay. Higor sings and plays bass on Joao Menezes "Eu Te Amo," a halting, jazzy love song with the composer on guitar, Batata Boy on Rhodes piano, and Berle on xylophone. Closer "Me Vestir de Voce" is a cover by Menezes and Paulo Novaes with Johanna and Higor in duet, backed by gentle MPB and samba-jazz. Its romantic and illuminating. The backing trio includes Berle, Batata Boy, and uber percussionist Bianca Godoi. It may be premature to label Higor the next rising star from Brazil, but Nyron Higor is a major statement from a visionary musician who combines tradition and modernity with compelling compositions and unintrusive modern production. ~ Thom Jurek