April 13, 2018
Reviews

“We didn’t have to expect something this good” says Vents Magazine

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The instant appeal exerted by Monsieur Jobs’ first single release “Chow Chow eyyy Pow Pow” is likely the first sign of the staying power this quintet has. We didn’t have to expect something this good. Monsieur Job could have contented themselves with hitting some formulaic marks in an effort to deliver a solid, danceable track with commercial allure. Instead, however, they challenge listeners with a song that isn’t simply entertaining, but shows considerable instrumental talents and breakthrough on the backs of outstanding vocal phrasing that never fails to impress. The outfit has a cross-cultural background; the bulk of the lineup is Columbian, but co-writer and member Bulgarian born Stan Kolev brings a tangible European edge to the song that makes for a richer listening experience. The song emerges as a fully conceived musical moment despite being patch worked together in three different recording studios and that’s a further testament to the band’s depth of talent.

There’s further testament heard in the distinct different flavors we can savor in the radio edit of the track and Stan Kolev’s remix. The latter is a little longer and, no slight intended, less obviously musical than the radio edit. Kolev’s remix is closer to hard EDM with the Latin tempos of the radio edit streamlined into a largely straight forward pulse with subtle accents along the way. The radio edit is where Monsieur Jobs’ musicality flourishes in much wider form – Cintron’s singing is given a larger berth and the song takes on a distinctly different hue thanks to the stronger focus on melodic elements, instrumentation, and playing to the song’s dynamic potential. There are moments in the radio edit that we should hear as close to what Kolev accomplishes with the remix, but those are extra gears added to the radio edit rather than the spot lit element they are in the accompanying remix. The difference in running time doesn’t affect the listener’s experience in any way.

The instrumentation in the radio edit, as alluded to earlier, has a more varied slant than we hear from the remix. Monsieur Job, wisely, doesn’t show listeners its musical hand all at once – the radio edit does a masterful job of slowly building tension, yet never wasting time. There isn’t a wasted note or moment in either approach. The layering of instruments in a steady procession on the radio edit sets it apart from many songs in this vein – but, essentially, Monsieur Job occupies their own niche in the musical world and do a fantastic job of taking recognizable influences and distilling them into something uniquely their own. This isn’t a single contenting itself with just offering up some transitory entertainment, musical cotton candy, for listeners – instead, it gets you moving yet earns your appreciation as a fine and well thought out musical work. It’s an exemplary example of what a debut single can accomplish for a band and they’ll surely be propelled to great notice by the reception the song receives.

Originally published on Vents Magazine

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