Source: http://www.catchafire.com in the Music Shack section An "aural expedition" is what Joi promises on the intro to her sophomore effort. Fair enough, but on a gut level what we get is "soul." Forget the current proliferation of R&B pseudo-soulsters; none radiate that intangible quality more than Joi. Unbound by stylistic shackles, she follows her muse wherever it takes her. Ably assisted by Dallas Austin, who also produced and co-wrote much of her auspicious debut, Joi's talent and vision blossom full flower on Amoeba Cleansing Syndrome. Whether rocking out, riding a groove, or gazing inward over exploratory futuristic soundscapes, she never sounds less than inspired. Joi sings with a voice that alternately soothes and screeches as she soars above the epic sweep of the production. This fire and ice dichotomy blends into a seamless whole-a sonic yin-yang as she explores the outer reaches of her wide-ranging emotions. L.A.-based funk/rock renegades Fishbone produce a cut and they provide a punchy, expansive backdrop to much of the disc. They seem ideally suited to Joi's eclectic tastes and she flexes her considerable chops over their brilliantly nuanced rhythms. She pays tribute to musical forebears in interesting ways, too. Influences are varied and cleverly deployed. Therefore the sound is fresh, never derivative. "Hurts Sometimes" - with its acid-fried blues arrangement, loopy lyrics, and searing vocals crackling unbridled passion- suggests what early Funkadelic might have sounded like with Tina Turner aboard the mothership. Aesthetically Joi is more on the Bette Davis tip though; she even covers Davis raunchy "If I'm in Luck I Might Just Get Picked Up" to wondrous effect. The opening number "Move On" features a sample of Anita Ward's disco classic "Ring My Bell" - a hard-as-nails rhythmic foundation supports this roaring salvo. The Fishbone influence is most evident on "I Believe," a tune written with Speech (formerly of Arrested Development). It's a Funky, infectious declaration of purpose bolstered by ska-infected horn parts that could have come from a great Studio one session (dig that sax break!) Like Prince and Marvin Gaye before her, Joi seems concerned with reconciling sensuality with spirituality: the classic dilemma. And like the great soul singers Aretha and Al Green, she is driven by a deep spirituality even at her most carnal. So many of Joi's contemporaries have a one-dimensional self-indulgent take on eroticism, musically speaking, they masturbate while Joi fucks. "Dirty Mind" (not to be confused with Prince classic of the same name) is her boldest offering; it transcends mere lust and suggests metaphysical intercourse with her listeners ("I wanna give it to you/so you can take me on a trip through your dirty mind") and climaxes with banshee wails of live-wire sexuality amid a drummer's frantic exhortations finally collapsing in post-orgasmic calm. The sonic grandeur of many of the songs is underscored by pithy aural touches that imbue the tracks with ambiance and mystique. "My Brother's Letter" for instance, with its spacious groove, recalls the work of cosmic- funkateers Jamiroquai, well suited to the poignant lyrics. Elsewhere Joi mines her fertile imagination and conjures utopian fantasies that further reveal vulnerability beneath the brazen surface. Her closing statements revel in experimental art-rock panache, but are anchored by strong melodies and fierce conviction. The guitar hook to "If I Could Fly" contains a melodic fragment of Seal's "Kiss From a Rose," while "Dandelion Dust" boasts a vaguely middle Eastern motif filtered through trippy Beatlesque textures. This abundant array of sonic touchstones found on Amoeba illustrates a far-reaching artistic vision. One borne out of imagination and experience and that probes the very depths of SOUL! Note: Joi's Amoeba Cleansing Syndrome is expected to be released some time this Spring