Performed by Pachyderm, whose personnel is:
Ethan Mackowick – acoustic and electric guitar, vocals
Max Klemmer – bass guitar, vocals
Jaxon Stunden – electric guitar, vocals
Remy Erkel – drums, acoustic guitar on “Spend The Night”
Nico Sleator – keys
With help from:
Augie Bello – tenor sax
Sugah Cat – trumpet
Talisman St. Charles – band manager
All songs written by Pachyderm
Recorded in a variety of basements and bedrooms
Mixed by Nico Sleator (check out www.nicosleator.com )
Mastered by Alberto Sewald
Special thanks to Max Rayschich for recording help and advice
Special thanks to Leon Sleator for lending us your nice microphone
Art by Peter Zurawsky
Listen Here – BandCamp
Directed by: Kendra Morris
Concept by: Esoteric & Kendra Morris
Photography: Lewis Holiday
Art: El Ultimo Codice
Action figures: Killer Bootlegs
Visual effects: Josh Mac
Effects supervisor: Jeremy Page
Listen/Watch Here – Youtube
Produced, Edited and Directed: Liam Lynch // Listen/Watch Here – Youtube
Pouya, the five foot five destroyer comes hailing from Florida, or rather Flawda as he describes it. He has a sense of cultural pride behind his home and flows with that southern style as Bone Thugs, but changes it to fit a new modern format.
On his newest record, FIVE FIVE, Pouya emerges from a break of touring and his last album, Underground Underdog, to reinstate his position as one of the faster, more breakneck rhymers of hip-hop. His work with $UICIDEBOY$, Ghostemane, or even Night Lovell who makes a feature on FIVE FIVE, Pouya shows his adaptability to both production and different lyricists on a near featureless masterpiece. The production which is handled exclusively by Mikey The Magician compliments Pouya incredibly well and has this elegance behind it. Pouya and elegance has never been two things in one sentence, but on FIVE FIVE he flips a script completely and rides these shifting piano heavy tracks that make for a new style to Pouya.
He moves swiftly, making FIVE FIVE feel as a new artist and something that is a more mature cut than Underground Underdog. “Aftershock” is a fairly vivid look into this new style of Pouya where he shifts behind this classy percussion and thumping bass line. Pouya explains, “I got a thousand enemies and yet they all wanna rip me, but even if you kill me I will never die, my words will live forever. I thought this money was suppose to make my life look better, but now this money got me dancing, dancing with the devil. Heavy metal, got my pants sagging like a 90’s rebel, I can never settle, I need my settlements lately. Been around the world but Miami is where my grave be”.
Moving through the gun smoke and debris in a glimmering, triplet and shifted fashion, Pouya feels personal and has a better ear to his style on FIVE FIVE. There is still a strong clash within FIVE FIVE where the tracks become much stronger and move in a more destructive fashion. Especially on the self titled track, “FIVE FIVE” where the punching bass moves Pouya into a power stance, rhyming “So put some respect on my name, my flame is reigning with no label. Momma said ‘Get that bread and lay low’, while you sippin’ on your Faygo, 45 Blow off your halo”. It is the same raw tenacity behind Pouya’s voice that made crowds and mosh pits fall in love with him from the beginning, but now he moves with a stronger, more forward and flowing approach.
It is this violence that Pouya portrays however that makes his sound feel rough and as he is not a target but instead an assaulter. “Bitch back off of me, mac on my hip when I bust I turn you obsolete. Don’t bother me, iPhone buzz if I don’t get it once what the fuck you think. I’m not the type to think before I act, you can bust a 1000 rounds, I’m still intact”. Pouya raps over “Back off Me” where the foreboding instrumentation and eventual church bell chime conflicts with the rattling and twisted hi-hats to form a production that is fit for a king.
Mikey The Magician destroyed every bar here with the production and he quickly showed that he can be a driving force behind a great lyricist and move the pieces to fit this overarching puzzle piece. FIVE FIVE is important, a new stepping stone in Pouya’s career, and one that lives on through the beauty of the sunshine, but also the dark underbelly of Miami.
(The) Melvins are a separate entity of sound entirely. There is not a single band that replicates the droned, broken sludge metal quite like they do. The heavy hitters in the grunge era come hot with the release of their fifth studio album, Houdini as a first major record label release; a turning point that would ensue on the Melvins’ career.
The percussion is a vital participant of Houdini and makes a substantial point to incorporate and smash the listener in a rage throughout each pulsing track. Houdini has these moments of broken, near crawling tracks that break the flow of action up and instead make the listener succumb to this overarching heaviness. Then other moments with “Night Goat”, Melvins are furious and driving behind their sound with the gut-wrenching screams of ”Buzz” Osborne who is known for his wild, and almost esoteric style that reached a broad audience. The Melvins is a band of pure experimentation that somehow managed to run the thin line of having a rhythmic back bone; finding immense success in the audacity.
Houdini even recruited Kurt Cobain as a producer, but Buzz later stated “We did a bunch of sessions with Kurt Cobain [producing], but it got to the point where he was so out of control that we basically fired him and went our separate ways, which is unfortunate, because I think that would have been fun.” The sound does not have a directly influenced style by Cobain in any way either as it focuses more on the underlying pulverizing of sound rather than any punk influence. Even as Buzz stated that the Melvins began as a hardcore punk band, the roots of the album are much deeper and involves a larger grasp of genre defining style. Not only is their ability stretched from the KISS cover “Goin’ Blind” or on “Honey Bucket”, two entirely differently styled tracks. But, there is a maintaining a general forward progression no matter the sound or style that Melvins adopt.
They are strange, off-putting at times, but ultimately entertaining through Houdini as it takes a variety of shape shifting forms before finally falling back into the comfort zones of “Sky Pup” or “Pearl Bomb” where the instrumentation is a little more direct and focused. The tracks still have that occult Melvins’ sound, but adapts and becomes something more bass focused than previously displayed.
Even as a three-piece, Melvins are fairly raw after being dug open from the top to bottom. They move as a giant in the core of genre, one that smashes the boundaries and adapts to their own personal style. They throw the rules out the window, become illicit bandits, and make one of the more attention grabbing albums of the 1990’s.
Slime Season, PROD: KIDD HAZEL // Listen/Watch Here – Youtube