Monsieur JOB
- Chow Chow eyyy Pow Pow
YOU TUBE: https://www.youtube.com/watch?v=-V8N0bTvmNw
YOU TUBE: https://www.youtube.com/watch?v=-V8N0bTvmNw
Monsieur
Jobs’ “Chow Chow eyyy Pow Pow” is an energetic single from a largely Columbian
outfit joined by the vocal talents of No Mercy front man Martin Cintron. Springing
from an idea first hatched by label executive Jose Fernando Holguin, Monsieur
Job is a four member project featuring the talents of Stan Kolev, Leo
Jaramillo, Toby Holguin, and Charlie Illera. Kolev and Holguin are the
songwriting talents responsible for this particular confection and their
inspired take on modern pop mixed in with vivid Latin strands makes for a
release with rare physical presence mixed with understated melodic strengths in
its edited for radio version. There’s a second version of the song, a remix
helmed by Kolev, included with the release and provides an invigorating
alternate take on the song demonstrating the band’s elastic artistic vision. “Chow
Chow eyyy Pow Pow”, in the end, is more than just a glorified rhythm track with
embellishments laid on top – it’s a bonafide song that’s malleable and alive.
The
percussion opening the radio edit and remix alike certainly emphasizes this.
The radio edit, in particular, ends up bringing a small drumming army to bear
on the listener’s attentions and there’s an appealing mix of live sounding
percussion building the song alongside more digitized beats. There’s a nice,
understated layered effect that the production and arranging achieves for the
drumming in the radio edit imbuing the song with a strong sense of dynamics
distinctly different and idiosyncratic compared to similar efforts from other
bands and performers. There’s a number of dramatic shifts and small screen
climatic moments in the radio edit before the performance reaches a satisfying
conclusion. Martin Citron’s efforts make an enormous difference in the final
product’s appeal and his forceful way of gliding through the verses, his
harmony contributions to the song, and the balance he strikes working alongside
the music makes this one of the most impressive outings he’s had in an already
impressive career.
His presence
manifests itself rather differently in the remix. Kolev reacts to his voice
less as a singer, but more as another instrument in the mix akin to the
pre-programmed percussion thumping away in the background. The percussion for
the remix isn’t nearly as nuanced as what we hear from the radio edit, but it
needs to be effective in a much different way and succeeds. One can easily
envisioning or hear this song making a big impact on a crowded night club dance
floor, but don’t mistake its excelling in that style for an absence of
substance. The construction of the remix is every bit as impressive, in its own
fashion, as what we’ve heard from the radio edit. Monsieur Jobs’ “Chow Chow
eyyy Pow Pow” announces the arrival of a first class modern dance and pop act
that cross cultural lines with undeniable flair and skill. It’s undoubtedly the
first big step for a project that will blaze a trail for others to follow and
entertain everyone who comes into contact with their music.
Wayne Toole
