So, after a break, I'm back to present some of the last reviews this year before going into hibernation... Or maybe, into proper activity, who knows. This time my target is yet another genre I have recently been exploring – electronic music, and one of its finest modern producers, the Glaswegian Rustie (or Russell Whyte), who released his second album to date, via "Warp", on 25th August. It's called "Green Language", a term that means eiter the language of birds, or a recurring theme of the human mind, the idea, associated with Ancient myths, Medieval literature, Renaisance magic, that of a language that touches you directly, without the mind's interference and for Rustie himself, such a mean of communication is most certainly music. Hmm, a really ambitious goal, Rustie. But my personal interest in this particular album was mostly fueled by the producer telling that his influences were such unlikely, given he is a prominent electronic music name, as My Bloody Valentive and Godspeed You! Black Emperor, so the sole thought of mixing what he had made thus far, and this kind of music, far more familiar to me than electronic music, gave me a firm reason to listen to this album. So, what are my observations, you can read below.
The first song is called "Workship". It is a typical intro. Somewhere midway there is this slow-motion huge moment, with a slow yet powerful beat, sounds almost like Classical.
The second song is "A Glimpse". Birds sing forward and backwards with beautiful synth structures emerging gradually. It gathers strenghts by the way, with another slow beat. Mesmerizing and intriguing. It makes you feel like something is going to happen, when it never does.
The third song and lead single off the album, and the first song from it that I've heard is "Raptor". It starts off where the last song left, somewhere amidst glistening sounds, getting thicker, foot stomping beat is accompanied by punchy synth, it occupies your ears, then goes high, and then – low, while the synth somewhere above keeps doing twisting and turning, Rustie squeezes everything out of it, then we are given a break, where everything seemingly gets far from us, but then strikes again, with new force. Then the thing gets repeated. But then something what I'd call a guitar is running from left to right and from left to right while the bass underneath reaches Earth's center. The end is right there. Somewhere deep beneath.
The fourth track is called "Paradise Stone". One of the best songs on the record. Synths glistening somewhere far away, then comes the glockenspiel part, that indeed sounds like something Foals could come up with.
The fifth song starts a series of tracks featuring other artists, this particular track is called "Up Down" (featuring D Double E). Another Nature-immitating wave with pseudo-bird chants, that sound Tropical in the background. The "Up" and the "down" sounds litteral. Not bad, but not as good, as the previous songs.
The sixth song – "Attak" – follows, this time with input from Danny Brown. It has also become the second single off the release. It greets us with war trumpets, or their synth brothers. And there comes Danny Brown, who is on place and makes thinsg work better. However, at first, it seems he doesn't sounds as frightening. But later he gives some more serious input. The synth lead is really rad. When the bass goes deep and the synth is far more wicked than on the previous tunes... The whole production is interesting. The end is repetitive, but sounds as fresh as ever. Like the song cannot be annoying at all.
The seventh song is called "Tempest". One of the better instrumental tracks. With a guitar intro, that gets some modern electronic treatment later on. Nature sounds, it gently rolls, wonderful movement. The very end is awesome.
The eight track is the grammaticall erroneous "He Hate Me" (featuring Gorgeous Children). Another track with vocals. It starts nicely, but the vocals spoil it all. It is interesting, but the music is far more interesting. The beat is almost not present. Acoustic rapping and synth? Strange track, after all. Sometimes the beat does appear to make it resemble a conventional electronic tune with rapping over it, but it gives little.
The ninth track is called "Velcro" and recently became the soundtrack for an "Adidas" commercial. Another fierce song. It starts off like a children's TV show soundtrack though. If not the aggressive beat and deep going bass... The contrast between the kind and friendly synth and the fierce beat is amusing.
The tenth song is titled "Lost" and features Redinho. The thirds single off the album, it presents some more human presence, this time in the form of singing. Some parts even sound emotional, but the hook sounds somewhat sleepy. The deep bass and beat helps not let you fall into hibernation. The songs sounds quite interesting, though occasionally slips to the pop swamp, that marks the end of most creativity nowadays.
The eleventh track is titled "Dream On". It actually, hmm, features vocals, this time, female, as well. And it doesn't sound bad, but, again, goes a bit too far into pop. The synth backdrop is cool, actually, and it grows and grows. The chorus is ambiguos, and in this it's beautiful...
The twelth song is called, again, with a grammatical mistake right in the middle of it, "Lets Spiral". It gives you the notion of the near end of things. Wonderful, but sad. It gets faster and faster, with some swooning synth. The bass hits some sad notes. Just like the opening track, this song sounds as something big's going to happen, but it never actually does. Not that it should have, actually.
The thirteenth and last song is the title track, "Green Language". It finally marks the proper end of the album, as the previous strack has already suggested that is is about to end. It presents us marvellous sites and birds singing. A relief after some of the rougher sides of the album. One of the best songs. It shows that Rustie if he wants, can do really bigger stuff. Piano with ambience. When you feel it is going to be ordinary, Rustie hits a sad note, that comes totally unexpected. And the mood instantly shifts then. That's what's wonderful about it, the track is so cinematic and challenging.
So, all in all, "Green Language" is an intriguing listen, that I've somewhat underestimated beforehand. Actually, the reviews I've seen before I even listened did not make me expect anything worthwhile, though, after all, the album produced a mixed reaction among critics. When listening to it, it actually sounds good. But it somewhat tries to do more than is capable of, or, to be precise, than is capable to do at the same level, as some songs are wiped out of your mind in a gust. And some, of course, stay there for some longer time. The need to produce hits with rapping and singing, of course, is understandable, yet in my opinion, the instrumental tracks far superceed anything else that is on the album. Interesting and attention-grabbing sounds, such as in "A Glimpse", "Paradise Stone" and "Green Language" are far bigger than the more accesible tracks. Of the tracks with vocals, only "Attack" can be said to cut it. Some places, perhaps because of the sole effect of well-produced vocals sound pop. Given the experimental aspects of "Green Language" and the depth of some of the songs, it is sad. Hard to say, why people think that a good electronic song desperately needs vocals. And people like Rustie are torn apart by the appeal for rapping and singing and the more intriguing sides of music. Perhaps I judge this album a bit too harsh, given that I was expecting something kind of different after reading about My Bloody Valentine and Godspeed You! Black Emperor being influences and the goal of creating a language that talks to you directly, avoiding the mind. How come you avoid the mind when I have to decipher the vocals? Apart from occasional feedback and atmospheric feelings, it's genuinely hard to trace any links to post rock or shoegaze. However, perhaps I should judge the album on its own terms. Then it is not so bad, actually – good. "Raptor" is one of the best tracks of the year. But the whole thing lacks that lasting effect that Rustie is capable of pulling off. Some things sound wonderful while some sound bleak.
Rustie:
https://soundcloud.com/rustie
http://rustie.net/
https://www.facebook.com/rustie666
http://twitter.com/rustie
Buy "Green Language" here:
https://bleep.com/release/52319-rustie-green-language
Videos from "Green Language":
"Raptor":
"Attak" (feat. Danny Brown):
"Lost" (feat. Redinho):
DISCLAIMER: this website doesn't feel friendly with "Spotify" and the like, thus I avoid it and do not provide any playlists that are not freely available (like in Soundcloud, Bandcamp or YouTube). How to listen to this album is your own problem :).
The first song is called "Workship". It is a typical intro. Somewhere midway there is this slow-motion huge moment, with a slow yet powerful beat, sounds almost like Classical.
The second song is "A Glimpse". Birds sing forward and backwards with beautiful synth structures emerging gradually. It gathers strenghts by the way, with another slow beat. Mesmerizing and intriguing. It makes you feel like something is going to happen, when it never does.
The third song and lead single off the album, and the first song from it that I've heard is "Raptor". It starts off where the last song left, somewhere amidst glistening sounds, getting thicker, foot stomping beat is accompanied by punchy synth, it occupies your ears, then goes high, and then – low, while the synth somewhere above keeps doing twisting and turning, Rustie squeezes everything out of it, then we are given a break, where everything seemingly gets far from us, but then strikes again, with new force. Then the thing gets repeated. But then something what I'd call a guitar is running from left to right and from left to right while the bass underneath reaches Earth's center. The end is right there. Somewhere deep beneath.
The fourth track is called "Paradise Stone". One of the best songs on the record. Synths glistening somewhere far away, then comes the glockenspiel part, that indeed sounds like something Foals could come up with.
The fifth song starts a series of tracks featuring other artists, this particular track is called "Up Down" (featuring D Double E). Another Nature-immitating wave with pseudo-bird chants, that sound Tropical in the background. The "Up" and the "down" sounds litteral. Not bad, but not as good, as the previous songs.
The sixth song – "Attak" – follows, this time with input from Danny Brown. It has also become the second single off the release. It greets us with war trumpets, or their synth brothers. And there comes Danny Brown, who is on place and makes thinsg work better. However, at first, it seems he doesn't sounds as frightening. But later he gives some more serious input. The synth lead is really rad. When the bass goes deep and the synth is far more wicked than on the previous tunes... The whole production is interesting. The end is repetitive, but sounds as fresh as ever. Like the song cannot be annoying at all.
The seventh song is called "Tempest". One of the better instrumental tracks. With a guitar intro, that gets some modern electronic treatment later on. Nature sounds, it gently rolls, wonderful movement. The very end is awesome.
The eight track is the grammaticall erroneous "He Hate Me" (featuring Gorgeous Children). Another track with vocals. It starts nicely, but the vocals spoil it all. It is interesting, but the music is far more interesting. The beat is almost not present. Acoustic rapping and synth? Strange track, after all. Sometimes the beat does appear to make it resemble a conventional electronic tune with rapping over it, but it gives little.
The ninth track is called "Velcro" and recently became the soundtrack for an "Adidas" commercial. Another fierce song. It starts off like a children's TV show soundtrack though. If not the aggressive beat and deep going bass... The contrast between the kind and friendly synth and the fierce beat is amusing.
The tenth song is titled "Lost" and features Redinho. The thirds single off the album, it presents some more human presence, this time in the form of singing. Some parts even sound emotional, but the hook sounds somewhat sleepy. The deep bass and beat helps not let you fall into hibernation. The songs sounds quite interesting, though occasionally slips to the pop swamp, that marks the end of most creativity nowadays.
The eleventh track is titled "Dream On". It actually, hmm, features vocals, this time, female, as well. And it doesn't sound bad, but, again, goes a bit too far into pop. The synth backdrop is cool, actually, and it grows and grows. The chorus is ambiguos, and in this it's beautiful...
The twelth song is called, again, with a grammatical mistake right in the middle of it, "Lets Spiral". It gives you the notion of the near end of things. Wonderful, but sad. It gets faster and faster, with some swooning synth. The bass hits some sad notes. Just like the opening track, this song sounds as something big's going to happen, but it never actually does. Not that it should have, actually.
The thirteenth and last song is the title track, "Green Language". It finally marks the proper end of the album, as the previous strack has already suggested that is is about to end. It presents us marvellous sites and birds singing. A relief after some of the rougher sides of the album. One of the best songs. It shows that Rustie if he wants, can do really bigger stuff. Piano with ambience. When you feel it is going to be ordinary, Rustie hits a sad note, that comes totally unexpected. And the mood instantly shifts then. That's what's wonderful about it, the track is so cinematic and challenging.
So, all in all, "Green Language" is an intriguing listen, that I've somewhat underestimated beforehand. Actually, the reviews I've seen before I even listened did not make me expect anything worthwhile, though, after all, the album produced a mixed reaction among critics. When listening to it, it actually sounds good. But it somewhat tries to do more than is capable of, or, to be precise, than is capable to do at the same level, as some songs are wiped out of your mind in a gust. And some, of course, stay there for some longer time. The need to produce hits with rapping and singing, of course, is understandable, yet in my opinion, the instrumental tracks far superceed anything else that is on the album. Interesting and attention-grabbing sounds, such as in "A Glimpse", "Paradise Stone" and "Green Language" are far bigger than the more accesible tracks. Of the tracks with vocals, only "Attack" can be said to cut it. Some places, perhaps because of the sole effect of well-produced vocals sound pop. Given the experimental aspects of "Green Language" and the depth of some of the songs, it is sad. Hard to say, why people think that a good electronic song desperately needs vocals. And people like Rustie are torn apart by the appeal for rapping and singing and the more intriguing sides of music. Perhaps I judge this album a bit too harsh, given that I was expecting something kind of different after reading about My Bloody Valentine and Godspeed You! Black Emperor being influences and the goal of creating a language that talks to you directly, avoiding the mind. How come you avoid the mind when I have to decipher the vocals? Apart from occasional feedback and atmospheric feelings, it's genuinely hard to trace any links to post rock or shoegaze. However, perhaps I should judge the album on its own terms. Then it is not so bad, actually – good. "Raptor" is one of the best tracks of the year. But the whole thing lacks that lasting effect that Rustie is capable of pulling off. Some things sound wonderful while some sound bleak.
Rustie:
https://soundcloud.com/rustie
http://rustie.net/
https://www.facebook.com/rustie666
http://twitter.com/rustie
Buy "Green Language" here:
https://bleep.com/release/52319-rustie-green-language
Videos from "Green Language":
"Raptor":
"Attak" (feat. Danny Brown):
"Lost" (feat. Redinho):
DISCLAIMER: this website doesn't feel friendly with "Spotify" and the like, thus I avoid it and do not provide any playlists that are not freely available (like in Soundcloud, Bandcamp or YouTube). How to listen to this album is your own problem :).
