Top critical review
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If you can handle 40 minutes of such high-octane euphoria, you'll love this album.
on 11 October 2011
Trying to describe Rustie's sound would take a while, 'Glass Swords' is a mash-up of everything thats good and bad and worse still in music and video games in the last 30 years, glossed over with the most shiny 1980's sheen you could imagine. Imagine snorting a kilo of Haribo's and you might have some idea where Rustie is coming from.
The album is a frantic mess, when it works its pretty special, but when it doesn't its annoyingly bad. 'Hover traps', 'City Star' and 'After Light' is Rustie on form, perfectly balancing a dizzying array of sugar-coated musical styles with supreme skill, his production skills really come to the fore. But the rest of the album is a self-indulgent mess, using an array of digital excesses bordering on the ridiculous. And it's such a fine line that Rustie has cut, so many tracks fall from the sublime over the edge to fluorescent meltdown.
'Glass Swords' is probably the most in-your-face record you will hear all year, be prepared for a technicolour onslaught, at its best it's as candy-floss pixel-perfectly formed as you could dream of. As refreshing as this album is, Rustie could have done with not throwing everything into the musical melting pot all the time. 'Glass Swords' does not feel of its time, but unfortunately its myriad influences are what lets it down, chiefly the 1980's technicolor sound. The flashy synth chords and slap-bass samples just start to annoy you, in fact the whole 80's synth funk smacks of naff. Its as if he's trying to out-do his Glaswegian funk-bass mate Hudson Mohawke.
"Glass Swords' is all about the rush, the energy, amped to the max with no let-up. If you can handle 40 minutes of such high-octane euphoria, you'll love this album. But for me, Rustie is trying too hard, using too many ideas, and ends up confusing himself and us in the process.