Solving The Bass Case
We first spotted D_Poet through his recent remix of Sulk Station’s Piya II. We had hoped for a fresh new sound in India’s bass music scene, and his latest offering, When Sherlock Got High, suggests that we can count on D_Poet delivering.
We have to admit, it took us a bit of thinking, some Googling, and finally an email to the man himself to confirm that we had got the joke. The track is D_Poet’s comprehensive rework of the theme to the BBC serial, Sherlock. And much like the show, we dig it. Even when we’re sober.
D_Poet draws from a huge bag of contemporary bass music tricks, propelling the track with skittering trap hi-hats and drunken hand-claps that recall hip-hop in the American South far more than the electric beats of today’s trap revival. Muted kick drums buried deep inside of the mix also conspire to evoke the boom-bap of Houston trunk-rap, and slow, almost human sounding synthesis echoes the sound of Clams Casino’s cough syrup indie-rap gold. But the soul of this track does not belong to hip-hop, but to its Bristol born cousin, trip-hop. Rhythmic synth washes slowly build around the plodding beat, substituting melancholy for any trace of aggression that the trap drums may have implied.
In fact, as Sherlock comes to a close, one begins to realize that D_Poet’s closest influence may be far nearer than Bristol or Baton Rouge; we can’t help but hear traces of Sulk Station’s _RHL. And that’s not a bad thing.
Just one humble request to D_Poet: you could do without the hackneyed Reefer Madness sample during the track intro. If your song needs long vocal samples to pull it all together, you haven’t finished it yet. And if it doesn’t need it, well then you’re better off doing without.
written by Kerry Harwin