Glasgow’s Rustie has been heaped in hype for his debut Glass Swords. Skream, Joker and Jackmaster have been gushing with praise of first release which was two years in the making. His style of dubstep bass with 1980s synth lines has emerged from his presence in the Numbers crew who have one eye on the past as they seek to create future beats. Rustie’s soaring sounds shine a light into the darkness of dubstep’s usual haunts suggesting a new direction for a genre that had seemed to stall.
Rustie’s music is all about high-pitched synths offset by deep bass and the contrast works like a charm. “Glass Swords” is like an overture which twists ever higher then “Flash Back” embarks on a retro 1980s disco trip with a broken beat before “Surph” and the playful “Hover Traps” have the feel of an artist just hitting his stride. “City Star” see Rustie go more sinister as “Globes” follows suit then “Ultra Thizz” spins the album on its head with its pummelling bass and trippy hook. “Death Mountain” takes you to a euphoric summit before throwing you back down from the peak.
A real game changer.
By the final third of Glass Swords Rustie’s smart composition that effectively re-writes many of the over-used templates adopted by bass artists over the last year or so becomes second nature and on second listen you’ll be drooling over the epic highs and dramatic drops. “After Light” gives a glimpse into futurist dubstep and “All Nite” shows us that female vocals shouldn’t always be Katy B soundalikes: borrowing a vocoder from Daft Punk can work wonders. Glass Swords will no doubt spawn imitators, but they’ve already got so much to catch up on. A real game changer.