Like most Americans, I was introduced to Brazilian artist Curumin through Quannum Projects. On a trip to Brazil, Chief Xcel discovered the artist, and set about producing his cross-over record, Japan Pop Show, which featured appearances from Gift of Gab and Lateef the Truth Speaker. Fast forward four years, and Curumin finally gives us a new record, this time stepping out on his own. Arrocha, which in Portuguese means to squeeze, sees Curumin working without the direct influence of the Quannum crew. As a result, we get an album that is all him - a genre bending mix of tropicalia, electronic, dub, hip hop, funk, jazz, and pop.

Without the guest artists and producers, we can really get to know Curumin as an artist, and as it turns out, he’s one of the most interesting musicians working today. Any worries that he’d lose the hip hop and funk to his sound are quickly dispelled on the opening track, “Afoxoque,” which hits hard with a fuzzy, overdriven synth bass line and hard snare hits that will have you bobbing your head before you know it. From there, we take a journey that ranges from the cross-over pop appeal of “Selvage,” to the weird and dark dub/electro style of “Treme Terra,” to the light, breezy, and sexy Sondre Lerche-inspired “Passarinho,” to the Bill Withers-esque “Paris Vila Matilde.” Just when you think Curumin has settled into a pop groove, he then drops the amazing “Tupazinho,” a strange instrumental dub/hip hop number that sounds like it could be at home on a Cut Chemist or DJ Shadow album. It precisely this wonderful mix that makes Curumin so exciting to listen to. You think you have his number, and he switches it up on you again. You get sweet acoustic songs with gentle vocals right alongside some hard hitting and weird instrumental tracks, along with the occasional spoken word moments. My biggest regret is that I don’t speak Portuguese, so I can’t comment on the lyrical work that Curumin is providing. I can tell you that his vocals are excellent, and as versatile as the rest of his music. He sounds just as comfortable with a quick delivery over a funky beat as he is stretching out a vulnerable vocal melody over a slow number.

It took a few years for Curumin to find the right material for his next album, but when the album is as complex and interesting and moving as Arrocha, I can’t complain. Japan Pop Show did the necessary job of bringing Curumin to the attention of American listeners, but as we found out with this record, he’s completely capable of standing apart on his own. Curumin is a unique talent, and Arrocha demonstrates that over and over.