Erol Josué | New Times Broward-Palm Beach

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Erol Josué

It´s important when discussing albums of unique provenance to distinguish those that are novel from those that are novelties. A sophisticated-sounding pop album from a man who conducts voodoo ceremonies may sound like the sort of thing that would fall into the latter category. The music of Erol Josué, however, is unapologetically inspired by/attuned to the rhythms and necessities of Haitian voodoo, yet it most assuredly is not a novelty item. It is a beguiling and singular modern-funk gem that has little in common with the thumping pop sounds historically associated with the island. The fusion of modern, programmed beats onto a skeleton of Haitian roots grooves results in a languidly propulsive bottom end, and Josué´s relaxed, mellifluous voice is both boldly expressive and prone to the occasional sing-songy melody. ¨Atomp´A¨ serves as the epic centerpiece of Régléman, with soaring, African-inspired harmonies and drumming, but on a simple little number like the chant-driven ¨La Souvenance¨ or the terrifyingly psychedelic ¨Ndoki Nadoka,¨ Josué shows he´s notable for far more than his personal faith.