Artist

P.O.S.

Netherlands

P.O.S. is a music group from Netherlands. Their discography on Gatefold includes 3 records.

Start your shelf →Open in app
Photo of P.O.S.

3

Albums tracked

8

In collections

—

Since

Biography

Stefon Alexander was screaming in punk bands like Om and Building Better Bombs before he ever bothered to learn how to flip a sample. That’s why P.O.S records sound like a basement show in Minneapolis rather than a pristine studio session. He wasn't some rapper trying to be edgy by adding guitars; he was a punk who realized a mic and a sampler were cheaper than a tour van. Most of the early Doomtree output was fueled by that DIY exhaustion—peeling off old show flyers and hoping the MPC didn't freeze up during the set. He eventually pushed the technical side so hard it almost killed him. Between the heavy distortion on 'Audition' and the kidney failure that sidelined him for years, the music became a document of sheer physical endurance. It’s not always pretty, and sometimes the glitchy, high-velocity production feels like a literal headache, but that’s the reality of the Twin Cities scene. It’s cold, it’s frantic, and nobody is coming to save you, so you might as well make as much noise as possible while you’re still upright.

Bio from The Clerk

The Arc of P.O.S.

The pivots — what forced P.O.S. to reinvent.

  1. The Doomtree Basement Days

    The early 2000s in Minneapolis were defined by the collective grind of the Doomtree crew and the sheer technical limitations of their gear. On 'IPECAC NEBULA' and 'Audition', Stefon was basically treating his vocals like a distorted guitar, fighting for space over jagged, self-produced breaks that ignored every rule of radio-friendly hip-hop. You can hear the urgency of a guy who was still hauling a drum kit to punk gigs on the weekends while trying to redefine what an underground rap record could sound like in a post-Slug landscape.

  2. The Rhymesayers Pivot

    Signing to Rhymesayers for 'Never Better' in 2009 changed the scale but sharpened the aggression rather than polishing it off. The production got denser, leaning heavily on live instrumentation and a frantic, 160-BPM energy that felt more like Bad Brains than A Tribe Called Quest. This was the moment where the punk influence fully devoured the rap structure, resulting in an album that was as much a technical flex as it was a middle finger to anyone expecting another 'God Loves Ugly' clone.

Influences

  • Fugazi — Alexander has repeatedly cited Ian MacKaye’s ethos and the band's rhythmic complexity as his foundational blueprint. You hear it in the interlocking, jagged basslines and the refusal to stick to a standard 4/4 boom-bap grid. It's the 'Repeater' energy applied to a sampler.
  • Bad Brains — The bridge between hardcore speed and rhythmic precision comes directly from the HR and the Dr. Know playbook. P.O.S. often references them as the reason he felt comfortable being the loudest guy in the room. The sheer velocity of his delivery on tracks like 'Purexed' is a straight line back to 'Banned in D.C.'
  • Minor Threat — This is the source of the DIY ethics and the straight-ahead, no-bullshit vocal delivery. He’s sampled them and covered 'Straight Edge' live, bringing that Dischord Records grit into the Minneapolis rap scene. It’s the reason his records feel like a punch in the mouth rather than a vibe.
  • At the Drive-In — The chaotic, abstract lyricism and the frantic stage presence of Cedric Bixler-Zavala heavily informed his early performance style. You hear the influence in the way he fragments his sentences and leans into the melodic-yet-strained vocal hooks. It’s post-hardcore structures disguised as verses.
  • Company Flow — El-P’s 'Funcrusher Plus' proved to a young Stefon that hip-hop could be ugly, industrial, and uninviting. The distorted, metallic sheen of his production on 'Audition' is a direct descendant of that late-90s Rawkus Records underground sound. It gave him permission to let the beats bleed into the red.

Discography

Their records — most-collected first.

Around the web

Follow every record they touch.

Start your shelf and Gatefold tracks P.O.S.'s new pressings, tour dates, and the whole discography — automatically.

Start your shelf →

Free forever. Works with 10 records or 10,000.