Thank god he didn’t go the extra mile. Meaning: With his second record, Rustie doesn’t try to outperform his genius first album by fidgeting around even more hyperactively or by merging together even more genres in order to create even more mutants with an even higher energy level. Of course, »Green Language« is yet another mix of trance, trap, prog-rock, 8-bit and any other genre made up by shrewd music journalists. Therefore, »Green Language«, too, comes as a triple XL, it’s still the maximum. And it has to be. After all, with this maximum-sound, Rustie is describing a whole generation with red eyes, staring at the screen too intensively while being at a rave. But »Green Language« doesn’t just blow fuse after fuse, it’s not a permanent explosion anymore. This time, Rustie has inserted some quieter passages, he uses deeper chords and works with much bigger synth-layers. When »Glass Swords« was a tensioned, vibrating rope, »Green Language« is more of an arc of suspense. And it has to be, considering that there are actual vocals this time. As you can read everywhere, it really is impressive, how Rustie manages to almost organically combine grime-MC, vocoder-input and Danny Brown on one single record, which, at the same time, is ballsy enough to do the splits between Daft Punk and Lil Jon. With the general objectivity of music journalism, you have to admit that Rustie delivered a masterpiece with »Glass Swords« and that »Green Language« is its logical successor. And still, I’d very much like those to speak up who actually and thoroughly enjoy listening to track nine to track eleven in one stretch.
Green Language
