Peter Sirah drives with a thick bass-line and a clear-cut, clean and up front rap vocal – two simple yet striking elements that draw you right into the centre of this new single.
Emerging there-afterwards with a fairly nostalgic, vintage set-up – raw drum work, the purity of that bass – the song gives off a classic sense of nineties minimalism; not unlike the sounds once utilized by The Streets or Audio Bullys. Here though, that vocal hits with a clean contemporary finish, and the guitar work undoubtedly lets the whole thing lean in something of an indie rock and blues direction.
There’s a gradual build up, an intense progression that hits in bursts of energy as per the rising passion of the leading voice. These poetic observations further the effect, and yet the track doesn’t thrive on this alone. There’s plenty of instrumental ambiance – the single is permitted the time to find its groove, to lay out a mood and stick with it for the benefit of a longing audience. That’s a rare trait these days, but one we can all appreciate.
Shortened attention spans were well catered to for a while, but here we have the re-emergence of music as the true artistic escapism it was always meant to be. Take an idea, inject it with rhythm and emotional enthusiasm, and record it precisely as the performance comes out. What you get is an alternative hit, something Distort That Bass was born to be.
Impressive as ever, and subtly unique in a brilliantly engaging manner. Hopefully there’s more to come.
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