Naná Rizinni // The Eisenberg Review Interview
Photo by Gui Bailey
On Epiblast, Naná Rizinni steps into a new phase of her sound, shaped as much by distance as by lineage. Born and raised in São Paulo and now based in London, the drummer, producer, and composer draws from Brazilian rhythmic traditions while moving into a more fluid space that blends improvisation, electronics, and jazz-forward composition.
The foundation remains rhythm. Rizinni’s playing is precise but elastic, moving beyond timekeeping into something more structural. Patterns stretch, dissolve, and reform across the record. What has shifted is the context. Removed from the immediacy of Brazil, those rhythms feel less inherited and more consciously shaped.
Written during her first years in London, Epiblast captures a period of transition where Rizinni began to arrive at a language that feels fully her own. Working closely with Mark Cake and Harry Jones, she leans into improvisation as a shared process, allowing the music to develop collectively.
I caught up with Rizinni to talk about building that language, her evolving relationship to rhythm, and how collaboration shaped the record.
