Pachyman’s music has the ability to induce escapism from even the harshest of Manchester winters. The Puerto Rican-born, now Los Angeles residing multi-instrumentalist sees the essence of 70s Jamaican dub live on through new expressions, blending a multitude of genres in the melting pot that is ‘333 House’: his at-home recording studio.
’333 House’ is a pillar of what makes Pachyman’s music so special; his YouTube videos depict the live processes of mixing and experimenting. The end results are never identical, producing something that lies between the echoing drums of retro dub whilst simultaneously broaching new ground, whether that be genre, or a new instrument Pachyman has added to his repertoire.
His most recent album Switched-On interweaves classic dub-reggae with the romanticism of 70s lovers-rock, making for endless reverbed drums fused with a dreamy nostalgia. As he took to the stage of the Pink Room at YES, he urged the crowd to huddle closer, as the guitar riff of ‘Sale el Sol’ began. Translating to ‘The Sun Rises’, the delayed staccato guitar of ‘Sale el Sol’ showcased Pachyman’s heavy 70s Jamaican influences. Paired with his short sleeve button-up and vintage yellow glasses, we were instantly transported to another timeline.
He followed suit with another track from his newest album, the cruising guitars of ‘Lovers’ and organ accompaniment amalgamating a variety of reggae sub-genres together in true Pachyman style. Then, a booming voice welcomed an appearance from Pachyman’s earlier album, as ‘Destroy the Empire’ echoed around the room. Featuring the güiro, a wooden percussion often used in Puerto Rican and Cuban music, ‘Destroy the Empire’ is dub-reggae in its purest form. Heavy on the reverb, the echoing snares sounded like they could fit neatly onto King Tubby’s Dub From The Roots.
Pachyman perfectly walked the line of live mixing and live playing, as he bought out a small melodica, swaying and dancing as he played alongside his decks. “Thank you for listening to the stupid shit that happens in my brain” he announced, masterfully bringing the one-take mixing process of ‘333 House’ to life.
‘You Looked at Me’ and ‘Switched-On’ both feature high-pitched electronic riffs. Mirroring the innocence and childlike joy of Mort Garson’s Plantasia, these synth moments harmoniously complimented the bassier points of the setlist. “Muchas gracias Manchester” he thanked the crowd, forming his hands in a prayer pose as he bowed to the audience.
‘Trago Coqueto’ is one of Pachyman’s most vocal tunes, the lyrics depicting a desire for the Caribbean through the metaphor of “a drink with allure.” Singing into his microphone, he knelt at the front of the stage and returned to his prayer pose, as if portraying the yearning theme of the song.
Finishing with the groovy ‘All Night Long’, the smooth vocals of Brazilian singer Winter played out across the crowd, blending both English and Portuguese language into the lyrics as Pachyman said his final goodbyes. A brief applause from the audience accompanied as he walked off stage, drawing a close to the momentary escapism we had all had the pleasure of witnessing.
