W4RP Trio has already made their mark as one of the most daring chamber groups in the game, blending elements of modernist classical, tango, and jazz into something wholly their own. On Sermon of the Matriark, W4RP Trio—pianist Mikael Darmanie, violinist Josh Henderson, cellist Ju-Young Lee and drummer/percussionist/composer Rick Martinez—team up with spoken word artist LiKWUiD (Faybeo’n Mickens) for a genre-defying masterwork. This album boldly blends orchestral elegance, jazz improvisation, and hip-hop’s raw intensity, creating a soundscape that honors the strength and resilience of women across the African diaspora. W4RP Trio describe the album as a bridge between the legendary and the everyday, connecting figures like the African warrior princess Yennenga and Harriet Tubman to the matriarchs of modern communities.
The album opens with the cinematic “Prelude,” where sweeping strings and LiKWUiD’s commanding voice set the stage for a project that feels part epic, part manifesto. LiKWUiD’s vocals give slam poetry vibes as she speaks of the struggles of black women before the pace picks up and struggle gives way to experience. “Testify” follows as a haunting instrumental interlude, with minimalist rhythms building tension that releases in “After the Rainbow.” This track marries W4RP Trio’s lush arrangements with LiKWUiD’s introspective yet empowering storytelling, a powerful track where affirmations are spoken, building up to the shouts of “Power to the people!” The track “Up” is an instrumental track that feels like it wouldn’t be out of place on an Andrew Bird album, a violin heavy middle bookended with slower tempos and melodic whistling. “The Devil Went Down to Cackalacky” is a fiery reinterpretation of the showdown made famous by The Charlie Daniels Band, dripping with theatrical tension and rhythmic intensity, the track feels like Punch Brothers with a gospel twist. The eight-part “Gimme Dat” suite is the album’s beating heart, a sprawling, unpredictable journey through chaos and clarity. Tracks like “gambit” and “they tweakin” pulse with nervous energy, while “4th wall” ties it all together with theatrical flair. This suite exemplifies their ability to merge disparate influences; classical precision, jazz improvisation, and hip-hop urgency into something cohesive and profound. On “Here’s One,” LiKWUiD shifts into full throttle, spitting rapid-fire bars over thunderous beats. The album then slows for its reflective closing, with “Southern Belle” and “To My Momma” offering heartfelt tributes to matriarchal resilience.
As a whole, Sermon of the Matriark is both a bold artistic statement and an unflinching homage to the legacies of Black women, past and present. Bold, experimental, and profoundly moving, Sermon of the Matriark is an essential listen for anyone seeking music that challenges, inspires, and uplifts.
