It’s an all-too-infrequent occurrence in today’s oversaturated musical landscape to come across an artist able to strike just the right balance between icy exposure, but such is the case with “Drain the Swamp” by Jerome Pawl. Released on November 8, 2024, this six-track collection feels less like a series of songs and more like a journey.
But let’s get technical: “Drain the Swamp” is a master class in sonic diversity, blending intricate wordplay, memorable melodious hooks, and vital production, where each track stands to carry an entity in and of itself, contributing to an overarching theme of purging and renewal.
EP opener “Limo Tints” demands attention from the very first snare hit, a busy, deliberately abrasive affair built around distorted 808s and a syncopated hi-hat pattern that’s nearly claustrophobic but undeniably energizing. As he delivers, Jerome cuts his flow sharp and declarative, setting himself squarely in the role of somebody unapologetically there to shake things up.
“Ain’t No Switchin’ Sides” is the centerpiece of this EP, and this song exemplifies Jerome’s knack for striking a hooky catchiness. The beat is based around a punchy kick and a melancholy piano loop that recalls the earlier work of J. Cole or Kanye. Jerome is relentless with his flow here, not only doing internal rhymes but also nailing multisyllabic cadences easily. The live audience “gang vocals” layered into the outro give this track an electric finish, almost as if you’re hearing it performed in a packed venue.
Probably the most experimental track on the EP, “Stay Close” really blurs the lines between hip-hop and neo-soul. The beat consists of a jazzy chord progression played on an electric piano with a syncopated drum pattern, meaning that the listener is left slightly off balance.
“My Everything” makes a stark shift into far more melodic territory, proving Jerome’s comfort while singing and rapping. The song is constructed on top of a lush R&B-tinged instrumental with shimmering synth pads and an unobtrusive bassline that showcases the vocals wonderfully. Having a quite minimalist production, it is in the layering of the vocals by Jerome that real depth and texture are brought to this particular piece.
The last track, “By Myself,” is a declaration of independence—sonically and lyrically. With its reverb-drenched pads and sparse percussion, the production leans toward atmospheric territory and conjures up a sense of isolation that resonates with the theme. The beat is dynamic; it bounces between rugged trap sections and more melodic, introspective passes, while the hook manages to be catchy without trying too hard. The layered background vocals only make it richer.
Recorded in Jerome’s studio and mixed/mastered by Darrius Porter of Golden Impala Recording Studio, the sonic detail is impeccable. The decision to incorporate live elements, like the gang vocals on “Ain’t No Switchin’ Sides,” adds a human touch that’s often missing in today’s hyper-polished music landscape.
With Drain the Swamp, and as Jerome gets back into performing live and building his audience, there can be little doubt that this EP is more than just another release. So make sure you stream it today on Spotify.