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,...

By Jason Ferguson

June 21, 2007

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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.

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