By Azzam Bilal 
HangupsMusic.com – São Paulo, In the dense, humid sprawl of Brazil’s financial and cultural heart, a new sonic language is being forged in the shadows of the city’s Brutalist architecture. RHR, the moniker of the São Paulo-based producer Ronei Hernan, has long been a vital figure in the South American electronic underground, known for a sound that bridges the gap between industrial techno, experimental electronics, and the raw energy of funk carioca. With his latest release, the EP titled GÍRIA, RHR does more than just offer a collection of club tracks; he presents a profound exploration of movement, cultural heritage, and the evolving nature of communication. By drawing direct inspiration from the fluid, perpetual motion of Capoeira and the rhythmic complexity of Brazilian percussion, RHR has crafted a five-track odyssey that feels both ancient and futuristic.
The title GÍRIA translates to "slang" in Portuguese, a word that carries significant weight in the context of Brazilian identity. Slang is a linguistic tool of the streets—a way for marginalized communities to communicate in codes, to subvert authority, and to create a sense of belonging. In RHR’s hands, this concept is translated into sound. The EP functions as a rhythmic dialect, using a specific vocabulary of spiraling drums, fervent breaks, and a specialized "low-end heat" that serves as the foundation for his high-concept message. This is music as a secret language, one understood through the body rather than the intellect, designed for the "Roda" (the circle) where dancers and fighters alike find their rhythm.
The creative fuel for GÍRIA is explicitly rooted in Capoeira, the Afro-Brazilian martial art that combines elements of dance, acrobatics, and music. Capoeiristas are characterized by a state of constant motion—the ginga—a fluid swaying that ensures they are never a static target. This philosophy of perpetual movement is embedded in the very DNA of the EP. There are no definitive beginnings or ends to the shapes RHR spins here; instead, the tracks feel like segments of a larger, infinite loop. The opening track, "CICLONADA," featuring Logan_olm, sets this tone immediately. It is a masterclass in tension and release, where the percussion doesn’t just hit; it swirls, mimicking the centrifugal force of a spinning kick. Logan_olm’s contribution adds a layer of vocal grit that grounds the ethereal electronics in the reality of the urban landscape.
As the EP progresses, it becomes clear that RHR is interested in the intersection of local tradition and global electronic innovation. The producer’s ability to weave together disparate influences has attracted attention from some of the biggest names in the industry. It is no small feat that the EP features contributions and sequencing from Skrillex, the American heavyweight who has recently immersed himself in the sounds of the Brazilian underground. Skrillex’s involvement as a co-sequencer on the project is a testament to the international relevance of RHR’s vision. Rather than overshadowing the local artist, Skrillex’s touch is subtle and supportive, particularly on the final track, "SYRINX." On this finale, one can detect a recognizable sonic signature—a subby-yet-airy quality that provides a spacious canvas for the vocalists Me Jesmay and Lucas Swatch. Their voices act as gravitational anchors, pulling the listener through a landscape of flickering synths and deep, resonant bass.
The middle section of the EP maintains this high-wire act of technical precision and raw emotion. Tracks like those featuring BIGMAMMAZUKI highlight the collaborative spirit that defines the São Paulo scene. In this community, music is rarely a solitary pursuit; it is a conversation between producers, vocalists, and the dancers who will eventually inhabit these sounds. The "spiraling energy" mentioned in early reviews of the record is palpable here. It is an energy that feels as though it could cycle in anyone—from the most avant-garde experimentalists to mainstream icons—without losing its core identity. This inclusivity is part of the "slang" RHR is developing; it is a code that is difficult to master but open to those who are willing to listen.
Technically, GÍRIA is a triumph of sound design. RHR’s use of "low-end heat" is not merely about volume; it is about texture. The bass frequencies in these tracks feel physical, occupying the room with a warmth that contrasts with the cold, metallic precision of the breakbeats. This contrast mirrors the experience of life in São Paulo—a city of extreme wealth and deep poverty, of concrete towers and lush tropical pockets. The "fervent breaks" are reminiscent of the UK jungle and hardcore scenes, but they are recontextualized through a Brazilian lens, infused with the syncopation of the berimbau and the atabaque. It is a fusion that feels entirely natural, suggesting that the "broken" rhythms of London and the polyrhythms of Bahia are distant cousins finally reunited.
What sets GÍRIA apart from other contemporary electronic releases is its restraint. In an era where many producers aim for "big moments"—massive drops, anthemic melodies, and predictable structures—RHR chooses a different path. This is a breakout record characterized by its cohesion and intention. Every sound has a purpose; every silence is calculated. The EP does not demand attention through sheer noise; it earns it through a hypnotic, cumulative power. It is a record that rewards repeat listens, as the listener begins to untangle the layers of percussion and the subtle shifts in the atmospheric pads.
The significance of this release for RHR’s career cannot be overstated. While he has been a respected name in Brazil for years, GÍRIA acts as a powerful calling card for the rest of the world. It flings his name outward into new, ever-expanding circles, proving that the sounds of the São Paulo underground have a universal appeal. By staying true to his roots and the specific cultural "slang" of his home, RHR has created something that transcends borders. The involvement of global figures like Skrillex serves as a bridge, bringing new ears to a sound that is unapologetically local yet technically world-class.
Ultimately, GÍRIA is a meditation on the power of language—both spoken and sonic. It reminds us that movement is a form of speech, and that rhythm can convey truths that words cannot reach. Like a Capoeirista in the center of a Roda, RHR moves with a grace that hides his strength. He is in a constant state of motion, spinning shapes that challenge our perception of what club music can be. As the final notes of "SYRINX" fade out, the listener is left not with a sense of an ending, but with the feeling of a cycle that is ready to begin again. RHR has not just made an EP; he has defined a moment in the evolution of Brazilian electronic music, cementing his place as one of the most vital voices of his generation. The "slang" has been spoken, and the world is finally starting to understand the dialect.