Sea Shanties & Big Room

Sea Shanties & Big Room

Not one, not two, but three “Wellerman” reworks have surfaced this week! Even if I found myself preferring all of …

Not one, not two, but three “Wellerman” reworks have surfaced this week! Even if I found myself preferring all of them, my growing intrigue by this singular coincidence has convinced me to focus on the theme instead of making separate articles. First version, my favourite, is the Haohinh, KENNY MUSIK & Jawny Sparklez version published via Intensity-Nik Cooper; the trio nailed the “pirate’ theme with a sensational vocal and a brutal drop, and delighted me for the unique mood setup, despite the disappearance of the melody in the build-up. Thereafter, NIVIRO’s Rave Culture and Sea Shanty’s Spinnin’ versions are similar with a Big Room and Slap House arrangement, respectively (unexpectedly creative, I must add). Entertaining, as they all deserve a solid 85 and more: I have been a fan of these peculiar ideas.

Now, people are already gossiping about a “ShantyTok” trend that set afoot since last month on Tik Tok, and that’s why I am here with my opinion.

It is doubtful. “Wellerman” is a catchy Folk song composition that got revamped lately and easily malleable to newer schematics, say like the legendary score of “I’m a Pirate” by Hans Zimmer. Yet, how often do you remember that? Unless you’re a huge fan of this niche, of course, not as much.

Back in 2017, we heard the “I’m a Pirate” Big Room bootlegs at least hundreds of times, everyone trying their hands at it from names like DV&LM to KEVU. Apart from rare exceptions, the producers simply added the famous riff into generic leads, releasing the “remix” without much efforts. That’s what seems to be happening with “Wellerman” as of now, even though there is more creative zeal poured into the reworks than before. Still the ambiguity remains on whether this trend will keep gathering attention for longer, as its popular predecessor didn’t manage to make it then.

Despite my pessimistic outcome from this situation, I’m hopeful about the effort put in these three adaptations: maybe other producers will understand that picking up a famous song and adding a Slap House bassline isn’t enough nowadays, and is possible to release an interesting rework!