Rusko

Rusko was one of the major forces bringing Dubstep to public knowledge when I first started really getting into the genre around 2008-9. His classic tunes Cockney Thug and in particular Africa featured heavily in my playlists of the time.

Obviously as a newcomer to the genre the heavy basslines were entirely new to me, and something that really blew my mind. The simplistic nature of the bass alone was not the thing that made me into a fan instantly but the quality of the productions as well. Over the past few years and as I have listened to more and more of his material you can clearly tell he is a very talented producer and someone at the heart of the Dubstep movement.

His ability to create UK Garage like his single Love is Real illustrates his connection to the roots of Dubstep, whilst his song You’re On My Mind Baby, containing the same funky 80s vibe similar to the likes of 2000f & JKamata, means his versatility must also be acknowledged and respected.

In recent times I have grown more and more skeptical about Rusko’s motivations. His move to America has obviously been highly successful and lucrative, coinciding with the meteoric rise of Skrillex. In American commercial circles I would suggest he is viewed as the premier UK Dubstep DJ, compared to in Britain where I would suggest this mantle is given to Skream and Benga.

Obviously massive congratulations should go to Rusko for making himself such a huge success across the Atlantic but with the American interpretation of Dubstep being in many ways different to the British version I was fearful his drive for stardom would bastardize his music. I feared that he would lose his style to the mish-mash of robotic noises in a bid to fill the vast American arenas.

Rusko has vocalized his reservations about the sub genre Brostep and criticized those who feel Dubstep is simply a one-dimensional entity surrounding extreme bass and messy productions; this alone should possibly have prepared me for his latest release. Despite this when Rusko announced the release of his album Songs my heart bled for fear of an album that might see him become no more than Skrillex 2.0.

Thankfully I was proved entirely wrong.

I saw Rusko perform at the Liquid Rooms in Edinburgh at the beginning of his UK tour and he did drop some songs with simple screeching bass and no tune but through out I was glued to the from of the stage, arms in the air, enjoying every minute of it.

Mixed in with the Brostep, which undeniably lifts the crowd to an exciting frenzy, there were tunes that held the more familiar Reggae infused Dubstep, the Garage influence and even hints of House music. The show Rusko put on was full throttle enjoyment from start to finish and his over enthusiasm even led him to burst his own lip. I left the venue, ears ringing and euphoric, completely sold on Rusko as the DJ but I still remained skeptical about Rusko the producer.

A couple of weeks ago I downloaded the album and once again all my doubts were proved wrong.

The album is fantastic. Of course there are simple commercial Dubstep songs on there but he would be a fool not to, Rusko is not a hipster, he wants to sell records, fill out arenas and headline festivals and to do that he has to create popular songs. His song Skanker is seemingly the headliner, the infectious beat is married with an unexpected reggae feel to it and is already becoming a Youtube sensation as the theme tune to which Rusko’s fans show their appreciation.

Other songs, however, once again show the versatility and skill I felt he may have lost or sacrificed in the USA. Love No More and Mek More Green have an undeniable Reggae influence that I think has been lost a lot in recent Dubstep as the Dub is replaced with more electronic and even Metal influences.

The loss of influence for Dub in this genre has also been mirrored in the loss in influence of UK Garage and his tracks Pressure and Whistle Crew do so much to promote these sounds that, to my mind, should be far more popular.

 Finally his track Thunder is, in my opinion, a masterstroke and although in some ways in touch with the Dubstep genre it acts more as a symbol of Rusko’s talent. It is bang on trend with the rise of House and Electronic in popular music and its vocals along with the anthemic nature of its bassline create a truly great song.

Just as his Edinburgh performance completely sold me on Rusko the DJ this album in its entirety - and in individual pieces of brilliance - has sold me equally on Rusko the producer.

Rusko, I apologise for ever doubting you.