Monsieur Job - Chow Chow eyyy Pow Pow
Monsieur
Jobs’ single “Chow Chow eyyy Pow Pow” is a powerful release from a quartet
joined by guest singer Martin Cintron of the band No Mercy. This release from
Basswalk Latino is the end result of a project initially conceived by label
head Jose Fernando Holguin and brought to reality by the songwriting talents of
Stan Kolev and Toby Holguin, but Kolev and Holguin are not alone.
The experience and skill Leo Jaramillo and Charlie Illera bring to the recording is unquestionably crucial and their combined studio and live pedigree fuses to form one of the more fiery outings in modern pop and EDM I’ve heard in quite some time. This doesn’t settle merely for pandering to listeners with perfunctory beats and shopworn rhythms. Instead, Monsieur Jobs’ “Chow Chow eyyy Pow Pow” rings out with inspired energy and creativity to burn.
The experience and skill Leo Jaramillo and Charlie Illera bring to the recording is unquestionably crucial and their combined studio and live pedigree fuses to form one of the more fiery outings in modern pop and EDM I’ve heard in quite some time. This doesn’t settle merely for pandering to listeners with perfunctory beats and shopworn rhythms. Instead, Monsieur Jobs’ “Chow Chow eyyy Pow Pow” rings out with inspired energy and creativity to burn.
Few tracks in
this style will sound as complete as this. Newcomers to the genre will find
their preconceptions smashed and longtime devotees of the style will be
thrilled to hear an outfit that challenges formulas while still hitting all of
the fundamental marks. Citron’s vocals are a perfect fit for the radio edit and
the variety of ways Kolev and Holguin’s songwriting presents him for listeners
is one of the critical reasons this single proves to be such a success. The
length is perfect for the performance and well balanced between Citron’s
singing and the music. It is true, however, that the arrangement is primarily
focused around the drumming, but Monsieur Job possess a wide vision for what
percussion means in their music and it becomes the lead instrument, in some
ways, providing the foundation upon which everything else exists.
It’s a powerful reminder of what re-envisioning a style, even a little, can accomplish for an act rambunctious and ambitious enough to pull that off. Stan Kolev’s accompanying remix of the tune is a radical reinvention of the song that, nevertheless, maintains a clear connection to the aforementioned version.
Kolev recasts “Chow Chow eyyy Pow Pow” as a much harder, ferociously inclined EDM take on the song with the vocals laid scattershot over the track in a way that transforms Citron’s singing into another powerful instrument for the unit. There’s much less outright musicality here than what we hear in the radio edit, but that doesn’t make it lesser. Instead, “Chow Chow eyyy Pow Pow” packs quite a wallop in both forms, albeit manifested in distinctly different ways. Monsieur Job certainly has unusual origins and a different background than most projects in this vein, but that individualistic lineage produces something unique in a genre where uniformity is too often rewarded. Both versions of “Chow Chow eyyy Pow Pow” are sure to entertain audiences and linger in the memory long after the final notes conclude.
It’s a powerful reminder of what re-envisioning a style, even a little, can accomplish for an act rambunctious and ambitious enough to pull that off. Stan Kolev’s accompanying remix of the tune is a radical reinvention of the song that, nevertheless, maintains a clear connection to the aforementioned version.
Kolev recasts “Chow Chow eyyy Pow Pow” as a much harder, ferociously inclined EDM take on the song with the vocals laid scattershot over the track in a way that transforms Citron’s singing into another powerful instrument for the unit. There’s much less outright musicality here than what we hear in the radio edit, but that doesn’t make it lesser. Instead, “Chow Chow eyyy Pow Pow” packs quite a wallop in both forms, albeit manifested in distinctly different ways. Monsieur Job certainly has unusual origins and a different background than most projects in this vein, but that individualistic lineage produces something unique in a genre where uniformity is too often rewarded. Both versions of “Chow Chow eyyy Pow Pow” are sure to entertain audiences and linger in the memory long after the final notes conclude.
Larry
Robertson
