"When your spirit is floating down that tunnel towards the light, you know what's behind the light? It's not God, it's me. And I'm gonna kick your poncy soul all the way back down the tunnel till you choke on your own fucked up ribs. Now, wake the f*** up!” That is the opening line from 'Cockney Thug' by Rusko, arguably the song that put dubstep into Britain's clubs and all over the UK's underground music scene in 2007. That was five years ago; the dubstep genre now is a worldwide phenomenon which some consider as musical marmite.

You were lucky to hear two dubstep songs in a club back in 2007 and these were always from two artists, Rusko and Caspa. They are considered pioneers of the genre, who now have been eclipsed by new artists who have evolved the genre into some kind of chart music for the kids to dance awkwardly to. Now in 2012 the clubs are drowned in dubstep, whether it's in the form of crappy top 40 fillers (Modestep – 'Sunlight') or addictive slow grinders (Katy B – 'Katy on a Mission'). All in all, it's turned into music for the middle class white girls to dance dirty to, the student rowers who don't know there King Tubby from a Teletubbie to stumble around to, and shameless artists to add on their tracks just because it's 'in' nowadays (Cher Lloyd). Dubstep has evolved into a money making machine, and Rusko knows it.

This sophomore release from Rusko titled Songs is exactly what was mentioned above; it's dubstep that's been evolved for the fancy clubs. It's that trance-like monotonous style which doesn't have any real substance, it has the occasional "woo" and "wamp wamp" in it but this isn't the dirty and deep dubstep you get in a dark basement club where you can skank out to with a circle of friends. This is aimed towards the silk shirted, loafer wearing champagne lovers who prefer the step to the dub.

It's unclear how this has happened, it could be because of Rusko's signing to Diplo's Mad Decent label a few years ago which sees him situated in LA, or it could be because he made Songs after taking a lengthy time off while touring the world where he didn't make one track. Unlike the debut O.M.G! - where Rusko was constantly making new music and playing it at gigs. It's just odd that a pioneer of one the largest growing genres in the world has come up with a collection of songs which doesn't seem original in the slightest. Nothing's new here, as you can hear a Skrillex themed formula in 'Asda Car Park' and you'll shudder when you listen to 'Opium' with its Guetta-esque European dance build ups.

There are occasional points in Songs that shine through; lead single 'Somebody to Love' takes you back to the 90's rave days and will be a big hit on dance floors around the world. 'Roll the Beats (Old School Edition)' and 'Free' take you back even further, showing that Rusko still has that early reggae dub flavour to add to his pot. It's a shame you only hear this in the last quarter of the album.

Songs would have been a more enjoyable listen if it was more like this, and less potential U.S chart fodder for co-eds to clunk around to. It's a shame to see how Americanised Rusko has become through listening to this release. Especially seeing as though the Leeds upstart was one of the men who helped polish the sub-genre into a genre of its own, bringing out one of the finest Fabriclive albums in recent years with help from Caspa.

There's hardly any trace of that Fabriclive release in Songs, but can Rusko be blamed for this? It seems dubstep has grown into a monster without him; he's just quietly climbed on top of it and gone along for the ride. A ride that's taken him to LA to be put under the wing of one of the most popular producers in the world. No matter the quality of this release, the man is still a success.