Riding high from the success of Clube da Esquina, Milton Nascimento began work on a follow-up album, only to have his lyrics get censored by Brazil’s repressive government. Undeterred, he entered the studio and recorded an album both abstract and eloquent. It may get slotted as experimental, but the wordless harmonies Nascimento and Vasconcelos enacted are some of the most haunting of either man’s careers.