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on 27 August 2014
A lot of the songs on the LP sound unfinished, but the ones that don't are something special.

Attak is easily the best track on the album so i feel it to be such a shame that it was pre-released. The other pre-release track Raptor is pretty great and i don't understand the lack of love for it right now, or maybe i'm just critically blinded by the long awaited arrival of new Rustie material. Velcro which pre-release featured in the Messi tribute video, i dunno, i was left wanting more.

As for the previously unheard tracks, oh God Up Down, lets's skip that s*** over. He Hate Me i quite enjoy, this release is the first time we get to see how guest vocalists would sound on Rustie Beatzz and in some cases they work, others not so much. Minus Attak and He Hate Me, the guest vocalist tracks feature seemingly watered down Rustie beats, possibly because i'd imagine Rustie unhinged is pretty hard to rap over unless you're DB (see three tracks in Old) so Lost, Dream On and (ugh) Up Down fall flat.

As for the pure crazed audio barage tracks we've come to expect from Russel, as a mentioned above they most feel unfinished and too short in comparison to what was in Glass Swords. The closer and title track Green Language restored my faith that Rustie hasn't completely lost his intriguing edge since Triadzz/Slasherr. But was it as crazy and satisfying an outro a Crystal Echo? Not even close.

Close Rustie, but no banana.

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2 of 3 people found the following review helpful
Maybe it's because I'm getting old, but I found this record's pre-release tracks (or are these what pass for singles nowadays?) a bit of a racket - "Raptor" in particular - but in the context of this, Rustie's second album, they actually work pretty well. The overall sound of this 37 minute runtime record is in fact quite varied, switching effortlessly between ambient, nu-rave/edm-type sounds, rap and Kanye-esque pop. On the closer, and title track, "Green Language" Russell Whyte even gets all Max Richter modern classical on our asses.

By and large this is a strong LP but unless I'm missing some irony, here it does contain one absolute stinker, "Up Down": sonically flat by this producer's standards and with a rap by someone called "D Double E" (E for Eejit?) which is lyrically DOA ("What goes up, must come down" repeated ad infinitum, for ****'s sake then something along the lines "Going down like the Titanic"). How this one got passed Warp Records A&R is a mystery and you can't afford a dud on a collection as short as this, so let's just press skip >>l...

The disc is nicely packaged in a slip case featuring the flamingos you see in Amazon's picture but with an inner digipack which has a completely different pattern on it. At time of writing if you buy the CD direct from Warp's own online Bleep outlet you also get a free Rustie sticker (sorry Amazon, but it would be remiss of me as a reviewer not to point that out).

"Green Language" is a great showcase for Rustie's producing skills with some great highlights (and one annoying lowlight which I really should let pass!) which holds together well as an album, although I preferred his first Glass Swords. Minus half a star for the aforementioned rubbish rap. Plus for me it's maybe a wee bit Kanye and Daft Punk derivative in places. Also, I don't think "Velcro" is not as clever as Rustie thinks it is - it starts to grate with me after a couple of listens.

3.5/5 rounded up to 4.
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1 of 3 people found the following review helpful
on 25 August 2014
Rustie's kaleidoscopic debut `Glass Swords' debut was a showcase of light emitting excess that was often brilliant, but let down by just way too many ideas for anyones ears to process unless you were a teenager.

So will Rustie give his young fans more of what they want on his new album `Green Language', or pipe things down for old gits like me? He's decided to do neither by mostly abandoning his maximalist approach for something more pop-friendly. The dreamy opening `Workship' and `A Glimpse' are stripped so far back that they lose any of the impact and creativity we are accustomed to from Rustie, leaving you with two undemanding synth tracks. Its not till the breathless 'Raptor' that Rustie wakes up, where infuriating sliding synths and peppering hi-hats shimmer and scream all over a hip hop track.

`Paradise Stone' takes a step back with another tepid wash of synths before `Up Down' featuring D Double E and `Attak' with Danny Brown ramp things up. The former is a standard trap rehash, but the intriguing `Attak' works a treat as Rustie finds a suitably unhinged comrade in the scatter-brained Brown. The rest of the album doesn't even sound like Rustie, its as if his dad decided to give it a go since all the tracks are full of clunky synth triggers and washes mixed in with RnB and hip-hop. Nowhere is this more apparent than `Lost' featuring Redinho, a track so spectacularly bad that the word "Why?" repeats in your head for as long as the track plays.

The final title track shows that Rustie has the potential to develop beyond his wildly maximalist style. Its obvious that `Green Language' is heading full tilt for the mainstream, but Rustie has lost a lot of his hyperactive identity which made him so much fun to listen to. His music is all about energy, peaks and blowouts, disorientating gems 'Raptor' and `Attak' fall under Rustie at his mind-bending best, but the rest of this album is a syrupy puddle of day-glo dull.
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