If you follow kompa and the Haitian Music Industry, you already know the name Carlo Vieux. As a founding member of Carimi, he helped shape one of the most beloved bands of the 2000s and 2010s. Even if Richard Cave and Michael Guirand usually grabbed the spotlight, Carlo was always there, steady on stage and in the studio.
After Carimi’s split, Richard and Michael moved quickly with new bands and brands. Fans saw them take clear frontman roles, while Carlo stayed a bit more in the background. That quiet phase made many people ask the same question: when is Carlo coming with his own thing?
The answer is here with “Carlō,” a 13 track album that blends kompa, pop, R&B, and urban flavors. It is not just a solo project, it feels like a full band blueprint and a public statement. The record comes packed with features, but many of them are not the usual big HMI guest names, which gives the album a fresh twist and a real sense of risk.
This review walks through “Carlō” track by track, looking at sound, lyrics, and features, and what it all says about Carlo Vieux as a leader, not only a former Carimi member.
From Carimi to “Carlō”: Why This Solo Move Matters in the HMI
Carimi was more than a successful kompa band, it became a standard. Hits, tours, and a strong live show turned the group into a reference point for a whole generation of Haitian and diaspora fans. So anything tied to the three main members still carries weight.
Richard Cave used that weight to build his own brand and band around his songwriting and keyboard style. Michael Guirand did the same, leaning into his voice and stage charisma. Both moves showed that life after Carimi could be productive and creative.
That left a gap around Carlo. Fans knew he contributed to songwriting and arrangements, and they saw his presence on stage, but he often stood a bit to the side. Many people saw him as the solid team player, not the obvious frontman. “Carlō” answers that perception with a clear message: he is ready to own his name and sound.
By putting his name on the cover, Carlo steps into full responsibility. If the album works, the credit is his. If parts fall short, that is on him too. That sense of ownership runs through the whole project and makes it feel like a statement for the wider HMI.
Carlo Vieux’s journey after the Carimi split
When Carimi broke up, each member took a different route. Some jumped quickly into new projects, while Carlo moved at a slower, quieter pace. He stayed active with features, live appearances, and behind the scenes work, but he did not rush into a new band just to follow the trend.
That period feels now like a long preparation. You can sense that he watched the HMI change, saw how younger artists mix kompa with Afro-pop, trap, and dancehall, and took notes. “Carlō” lands as the next chapter in that journey, the moment where all that observation turns into something with his own name on it.
Why “Carlō” is more than just another solo album
Plenty of singers drop solo albums. What makes this one different is what it tries to say about identity and leadership in the HMI. Naming the album “Carlō” is simple, but it sends a clear signal. This is not a side project, it is Carlo placing himself at the center.
Fans have always heard him as part of a unit. Here, the question becomes: how does Carlo sound when he has the final word on direction, band feel, and brand? Every choice, from the song topics to the guest list, points to a man who wants his own lane, not a repeat of old Carimi formulas.
Track by Track Review of “Carlō”: 13 Songs, One Clear Vision
Across 13 tracks, “Carlō” moves from classic kompa grooves to club energy and crossover experiments. Each song shows a different side of Carlo, but the thread is clear: melody first, groove strong, and emotions that feel direct and easy to catch.
Retounen: A strong opening and a message of return
“Retounen” feels like the natural opening for this new era. The title alone sets the tone, a return, but not a step backward. The mood blends reflection and hope, like someone coming back stronger after a long break.
The lyrics focus on coming back to the stage, to love, or to self belief, depending on how you hear it. The arrangement leans on familiar kompa elements, with a steady groove and warm backing vocals. As an opener, it tells fans, Carlo is back, and this time he is front and center.
Banm Carlo (feat. Shabba & Dj Stakz): Claiming his name and brand
“Banm Carlo” is the moment where he claims his name as a brand. The phrase “banm Carlo” feels like a chant, almost like people in a party asking the DJ to play his songs.
Shabba brings street energy, with the type of delivery that works in clubs and on blocks. DJ Stakz adds that party host feel, the voice that can hype a crowd between drops. The beat rides a bouncy, dance ready rhythm that blends kompa with urban flair. This track places Carlo in the middle of the party, not as the quiet musician in the back, but as the guy everyone is calling for.
Siwo (feat. Paska): Sweet kompa groove with sensual flavor
“Siwo” means syrup or sweetness, and the song sticks to that image. The groove is smooth, mid tempo, and built for close dancing. You can almost see couples sliding across the floor.
Paska’s feature adds a playful tone, matching Carlo’s voice with a light, teasing energy. The lyrics flirt with the idea of love as something sweet, addictive, and maybe a little dangerous. It fits right into the kompa love song tradition, yet the production keeps it modern enough for younger playlists.
Gaye Wonn Nan: Classic dance floor kompa for the mature crowd
“Gaye Wonn Nan” feels like a gift for dancers and DJs who love straight kompa. The title suggests spreading the vibe around, and the rhythm does exactly that. The bass line and drums sit in a comfortable pocket that invites people to move without thinking too hard.
Older Carimi fans might hear a bit of that familiar energy, but the delivery is smoother and more grown. This song proves Carlo has not forgotten how to keep a dance floor busy, and it does it with polish rather than pure noise.
Tout Pour Toi (feat. Marvin): Cross-border love song with French R&B touch
With “Tout Pour Toi,” Carlo teams up with Marvin, a French or francophone R&B singer, and the blend works well. The song feels like a bridge between classic kompa romance and French urban pop.
The lyrics move between French and Creole, with simple lines about giving everything for love. Marvin’s R&B tone sits nicely next to Carlo’s kompa roots, creating a track that can speak to Haitians, French Caribbean listeners, and even broader francophone audiences. It hints at how far “Carlō” could travel if pushed in the right markets.
Dechaje: High energy release for the party crowd
“Dechaje” is the pressure release point of the album. The word suggests letting go and unloading stress, and the production backs that up. The tempo picks up and the drums hit harder, pushing people to jump, shout, and forget their problems.
This track recalls the party side of Carimi, but now the focus is on Carlo as the one leading the charge. A catchy hook and call and response lines make it easy for crowds to sing along. You can picture this one becoming a live favorite.
Premye Fwa: Emotional storytelling about first love
“Premye Fwa” shifts the mood to something more tender and intimate. It plays on the idea of a first time or first love, that mix of excitement and fear that never really leaves our memory.
The rhythm stays slower or mid tempo, with space for vocals to breathe. Carlo leans into storytelling, using everyday language that anyone can understand. This track stands out as one of the emotional peaks of the album, the kind of song fans quote in captions and statuses.
On Continue (feat. Josey): A hopeful duet that reaches beyond HMI
For “On Continue,” Carlo calls in Josey, a powerful singer from Ivory Coast and a key voice in modern Afro-pop. Their duet has a gentle, hopeful spirit, built on a message of keeping it moving despite problems.
Musically, the song balances kompa groove with Afro-pop or zouk colors, which gives it a pan African flavor. The two voices match in a way that feels natural, not forced. This is one of the tracks that can help Carlo step outside the strict HMI circle and reach a broader Afro-Caribbean audience.
I’m a Freak 2.0 (Pa etize) (feat. 5Lan): Urban club track for younger fans
“I’m a Freak 2.0 (Pa etize)” points straight at the younger, club heavy crowd. The “2.0” tag suggests an update of the earlier version with Carimi, with a more urban, street ready twist.
5Lan brings raw energy and street credibility that will speak to Miami, New York, and diaspora kids who live on TikTok and YouTube. The beat pulls from urban kompa, trap, or dancehall influences, with a mix of English and Creole lines. Carlo shows that he is not stuck in the past and is open to fresh sounds and younger partners.
Kareman: Straightforward groove with a bold message
“Kareman” can be translated as “squarely” or “straight up,” and the song sticks to that theme. The groove is clean and direct, without too many extra layers, which lets the message cut through.
Lyrically, Carlo takes a more honest, no filter tone, talking about love, life, or relationships in a blunt way. It feels like a grown man speaking his mind, not trying to please everyone. This track underlines his confidence as an artist who is ready to stand by his words.
Yon Sèl Fwa (feat. Lynnsha): Smooth, feminine energy and radio ready feel
With “Yon Sèl Fwa,” Carlo brings in Lynnsha, a well known Caribbean and French R&B singer. The result is a silky duet that feels tailor made for radio.
The idea of “one single time” or “one chance” plays into a story of love that might not come back. Male and female voices play off each other, with Lynnsha adding softness and strength at the same time. This track gives the album a feminine color and strong crossover potential.
Jamais Assez: French title, never enough love
“Jamais Assez” means “never enough,” and the song leans into that sense of endless desire. It carries a bittersweet or deeply romantic tone, like someone who cannot get enough attention or affection.
The use of French gives the track a smooth, almost cinematic feel, while still touching Haitian and French Caribbean ears. Placed late in the album, it works as a mature emotional moment before the final party push.
Sexy Lady (feat. J Perry): Closing with a bright, international party vibe
The closer, “Sexy Lady,” features J Perry, known for upbeat Haitian pop songs that travel beyond Haiti. Together, they close the album on a bright, sunny note.
The beat is light, catchy, and built for festivals, beach parties, and mixed Caribbean playlists. The hook is easy to sing, even after one listen. Ending “Carlō” with this track leaves a taste of movement and joy, and it hints at how strong Carlo’s new band could be on stage.
Unusual Features, Fresh Faces: Carlo’s Quiet Risk on “Carlō”
Features are everywhere in the HMI right now, but many albums pull from the same small list of stars. Carlo takes another route. His guest list mixes regional and international names that are not always part of the usual HMI circle.
This choice makes the album feel more global and less local, in a good way. It also carries some risk, since not every traditional fan will know artists like Josey, Lynnsha, or Marvin. That is the point, though. Carlo seems more interested in building his own lane than chasing safe, expected names.
Breaking away from the usual HMI feature formula
Most HMI projects tend to call the same well known singers and rappers. Carlo breaks that pattern. He reaches into the wider Afro-Caribbean scene with Josey from Ivory Coast, Lynnsha and Marvin from the French space, J Perry with his crossover hits, and 5Lan for the urban edge.
This mix stretches the sound beyond Port au Prince and New York. It suggests a view of kompa and Haitian music as part of a larger Afro and Caribbean family, not a closed bubble. In a scene that can feel repetitive, this choice helps him stand out.
How the guest artists shape the sound and story of the album
What makes these features work is that they each bring a distinct color. Marvin adds romantic French R&B softness. Josey offers Afro-pop warmth and power. Lynnsha delivers smooth, feminine energy. J Perry brings bright Caribbean pop flavor. 5Lan gives street grit and youth appeal.
Through all of that, Carlo stays at the center. The guests support his vision instead of taking the whole spotlight. “Carlō” ends up feeling like a bridge between HMI and the wider Afro-Caribbean and urban scene, with Carlo as the link.
Final Verdict: Does “Carlō” Prove Carlo Vieux Is Ready to Lead His Own Band?
“Carlō” answers the big question in a clear way. Yes, Carlo Vieux is ready to lead. The album shows range, from deep love songs to hard party tracks, and it rarely loses focus on melody and groove.
The strongest points are the variety of sounds, the smart guest list, and the clear sense of who is in charge. If there is a weak spot, some listeners may feel the album runs long, or they may connect less with one or two of the club heavy tracks. Still, the overall quality stays solid from start to finish.
Live, these songs should give his future band a strong base, from “Retounen” for openers to “Dechaje” and “Sexy Lady” for peak moments. For longtime Carimi fans, “Carlō” offers both comfort and surprise. For new listeners, it is a clean entry point into Carlo’s world.
Very good album, and with all the talk around the project, the rumors of a band to follow feel more like a promise than a question.
“Carlō” is more than a solo experiment, it is part of a bigger shift in modern kompa and the Haitian Music Industry. All three former Carimi pillars now have their own projects, which gives fans more choice, more flavor, and more ways to enjoy the music they love.
If you press play, try to listen from track 1 to track 13. The singles will catch you, but the full sequence tells the story of a man moving from the shadows into his own light. That is the real power of this album.
In the end, “Carlō” feels like the start of a new chapter, not the end of the Carimi story. Give it a spin, then share your favorite tracks and your thoughts on Carlo as a solo leader. The conversation around this album is just getting started.
