Aminthas Angel draws from Afro-Brazilian religious traditions, classical composition, and the vocal harmonies of artists such as Brian Wilson and Milton Nascimento. His track Concessões brings these influences together through Ijexá rhythms, Yoruba language, and an emphasis on melodic beauty.
In this Afro Music 22 interview, Aminthas Angel discusses the inspiration behind Concessões, his collaboration with poet Jean Tahrun, his approach to vocal arrangements, and his interest in blending Afro-Brazilian traditions with European classical orchestral music.
How did the idea for Concessões first begin to form?
I was very involved with Afro-Brazilian religious ceremonies, where there was always a lot of music. So, I decided to write an Ijexá song with harmonies inspired by Brian Wilson’s work.
Why did you choose Concessões as the track’s title?
Actually, my friend and fellow diplomat Jean Tahrun wrote most of the lyrics. I composed the melody and wrote the Yoruba words in the chorus.
I think he chose the title because the lyrics describe a woman whose partner fears losing her. Therefore, he says, “If someday you leave forever, forget me slowly.”
What was most important for you to communicate through the lyrics?
The Yoruba words that refer to the Yoruba goddess.
Was there anything about the song that surprised or impressed you once you heard the completed recording?
I wasn’t surprised. I knew exactly what I wanted, but the people who mixed it were surprised by how so many harmonies could fit together.
How did you approach the vocal performance for Concessões, and what did you want your delivery to convey?
I always think in terms of harmonies. Brian Wilson’s work is an inspiration, alongside that of the great Brazilian musician Milton Nascimento.
Beauty and relaxation are the main values I wanted my delivery to convey.
What role did collaboration play in creating the track, whether through production, writing, instrumentation, or another part of the process?
Poet Jean Tahrun wrote most of the lyrics, except for the chorus. When I first laid eyes on his poem, I knew I would create a melody as good as the original poem.
Regarding production, it was a very special learning experience. I didn’t have any previous experience before that.
Are there any musical or cultural influences that listeners might hear in Concessões?
Brazilian Candomblé religion, African goddesses, and the vibes of Bahia, Brazil’s first capital city and the cultural heart of the country.
What usually determines whether an idea is strong enough for you to develop into a complete song?
Beauty. Melodic beauty. This applies to my work as a songwriter and as a classical composer.
What do you value most in your own work as an artist?
Trueness.
What are you currently interested in exploring next through your music?
Blending Afro-Brazilian tradition and European classical orchestral music.
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