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Rusko - Cockney Knees Up - Mar 2008
Submitted By: iltigre
Genre: Techno
Date of Set: Mar 26th, 2008
Filesize: 36.94 MB
Total Downloads: 5
Biography of Rusko
I was born in 1985 in Leeds, sort of between Leeds and Yorkshire. So I was brought up in Yorkshire and went to the college of music to get a music degree in Leeds, learned the trade up there and then moved down here to apply the skills. (laughs) But I’m still reppin’.
My mum used to be in a band, right up until 3 months before I was born. It was kind of like weird folk, country music, she used to sing and play the mandolin. (Caspa laughs) What are you laughing at? I’m only telling my story! What do you expect me to say – I was born in fucking Croydon, raised in the ghetto selling drugs and now I make dubstep? (laughs) It’s not like that, it’s a nice story! I wish I had a ghetto story but no, my mom used to sing in a folk band in Yorkshire. Before I was born, I was at the front of the stage in my mum’s belly – so yeah, before I was even born, I was rockin’ it on stage. Her band was called Ventura Highway – she’ll absolutely love that I just dropped that name!
Because of my mum’s band, there were always guitars and stringed instruments flying around the house when I was growing up; music was always all around me. I’ve still got a banjo at my flat, yeah I play a bit of banjo…then moved on to bass and saxophone, which I stuck to – those were the two instruments I focused on for my degree. I studied music performance, rather than the technical side of production. I’ve never taken any classes in production. I never used to really go to my lectures at college; I used to always be in the studios using all the nice equipment. I was never really an electronic kind of person, although I am now, but I just come from playing real instruments and real music, that’s my background, really. I only started DJing to promote the music I was making – a lot of people are DJs and then they start producing; I was the other way around.I used to do a lot of live producing – I’d record live instruments and putting electronic stuff in them, all sorts of things like that, from a very young age. I used to have a little drum machine when I was about 14. My mum used to go mad because I would always be on her computer – remember when your mum got her first computer and it was the most precious thing ever? It was like that. I was always on her computer once I figured out how to hook up my drum machine up and once I figured out a way to hook up my mum’s record player to it. That was the start, really. So I’ve been producing for a long, long time – I’m the first one to say I’m not a DJ, I’m not DJ Rusko. (laughs) I’ve always been into electronic music, I just come from the other end. I come from dub, really. Dub is the one for me. The whole studio ethos behind dub, and making dub, is what got me into making electronic music. If I’d grown up in London, I would’ve been into garage and all that kind of stuff – but growing up in Leeds, there isn’t any of that. It just doesn’t exist; you don’t even hear about it because there’s just so much dub and dub reggae. I miss it so much living in London now - in Leeds, most nights there’s some kind of dub soundsystem but down here there’s just not as much demand for it. I started off by making dub tunes and then Mark from Iration Steppaz started playing some of them. Iration have a shop up in Leeds, so I’d take my tunes, try them out on the system in their shop and they’d be like “do this…do that…do this…” So I’d come back with another one a few days later and talk to them about it. It was kinda like trial and error, being guided the way a little bit by those boys. That was before dubstep was really dubstep; I was just making dub music, trying it out. I remember Digital Mystikz doing a set at Sub Dub and that was it. Dubstep was like what I was doing musically, but it was just a little bit more - made the beats a bit faster and harder…I was just dub, no step. It’s only within the two years that I’ve put a ‘step’ on the end. (laughs) I used to make hip hop and dub under the name Rusk, so I ran with Rusko for my dubstep productions.
DJING
Caspa: After I put a few productions out, I put out quite a big tune on Tempa in 2005, probably the tune that did it for me – it was called ‘Rubber Chicken.’ It was one of the first tunes that started to really use that ‘wob wob’ sort of sound. Once I put that tune out, I got hit up a lot more for gigs – they’d never heard me DJ before, but they just wanted to hear me play my new tunes. My first gig abroad was in Denmark and the second one was Finland, then I did a tour in Australia, so I just jumped straight into it basically. Rusko and I started DJing together after we made a tune together called ‘Custard Chucker.’ We were remixing each other’s tunes as well. So even though we’re separate artists, people started associating us with each other and booking us together for gigs. We can do a good set together because we play the same sound…
Rusko: I reckon we’re best when we play back to back. If I get booked to play a one hour set, I’ll end up playing exactly the same tunes as Caspa – we end up arguing who gets to play what! (laughs) We’ve got almost identical record bags.
Caspa: We work well together as DJs for that reason.
Rusko: Plus we have a quick turnaround; all the artists on our label are knocking out tunes constantly. So your DJ box one month looks completely different the next; the turnaround of tunes is fast. That’s good, because people get bored of tunes so quickly, they’re hungry for it, they want to hear more, more, more, more…I moved down the street from him and started helping on board with Dub Police, helping out with the label and that kind of stuff so it kind of rolled out from there. We live near each other, it’s almost like we live together!
Caspa: The first release came out in 2006 and he moved down here…what, about 6 months ago?
Rusko: Yeah, about that. I’d been making dub and I made about 4 dubstep tunes, only 2 minutes long each, to play as interludes in my own DJ sets. It was little more than an experiment. They weren’t even proper tunes – four 2 minute dubstep interludes – to have a go at it and put in my set, and two of them ended up getting put out on the first EP. So I thought I’d try it out - move to London and make dubstep. It was a proper gamble moving down to London; I didn’t know a single person in London apart from Caspa so I was literally leaving my family, my girlfriend, my home, everything. The first few months were hard – no job, no money, all my friends were still living up north, it was hard work. Luckily it’s all come back together now, but it was a real gamble – on one release, it could either go one way or the other…and it’s gone further, way further, than I expected it to.I still make a bit of dub and hip hop on the side because when you’re travelling around doing gigs, all people want to talk about and hear is dubstep. I get sick to the back teeth with it! So when I go home, sometimes I just want to make some nice, chillin, melodic hip hop; I don’t necessarily want to go home and do more dubstep. Usually when I go home after a weekend of dubstep, I’ll go home and crack on with some drum n bass, dub, hip hop.
My mum used to be in a band, right up until 3 months before I was born. It was kind of like weird folk, country music, she used to sing and play the mandolin. (Caspa laughs) What are you laughing at? I’m only telling my story! What do you expect me to say – I was born in fucking Croydon, raised in the ghetto selling drugs and now I make dubstep? (laughs) It’s not like that, it’s a nice story! I wish I had a ghetto story but no, my mom used to sing in a folk band in Yorkshire. Before I was born, I was at the front of the stage in my mum’s belly – so yeah, before I was even born, I was rockin’ it on stage. Her band was called Ventura Highway – she’ll absolutely love that I just dropped that name!
Because of my mum’s band, there were always guitars and stringed instruments flying around the house when I was growing up; music was always all around me. I’ve still got a banjo at my flat, yeah I play a bit of banjo…then moved on to bass and saxophone, which I stuck to – those were the two instruments I focused on for my degree. I studied music performance, rather than the technical side of production. I’ve never taken any classes in production. I never used to really go to my lectures at college; I used to always be in the studios using all the nice equipment. I was never really an electronic kind of person, although I am now, but I just come from playing real instruments and real music, that’s my background, really. I only started DJing to promote the music I was making – a lot of people are DJs and then they start producing; I was the other way around.I used to do a lot of live producing – I’d record live instruments and putting electronic stuff in them, all sorts of things like that, from a very young age. I used to have a little drum machine when I was about 14. My mum used to go mad because I would always be on her computer – remember when your mum got her first computer and it was the most precious thing ever? It was like that. I was always on her computer once I figured out how to hook up my drum machine up and once I figured out a way to hook up my mum’s record player to it. That was the start, really. So I’ve been producing for a long, long time – I’m the first one to say I’m not a DJ, I’m not DJ Rusko. (laughs) I’ve always been into electronic music, I just come from the other end. I come from dub, really. Dub is the one for me. The whole studio ethos behind dub, and making dub, is what got me into making electronic music. If I’d grown up in London, I would’ve been into garage and all that kind of stuff – but growing up in Leeds, there isn’t any of that. It just doesn’t exist; you don’t even hear about it because there’s just so much dub and dub reggae. I miss it so much living in London now - in Leeds, most nights there’s some kind of dub soundsystem but down here there’s just not as much demand for it. I started off by making dub tunes and then Mark from Iration Steppaz started playing some of them. Iration have a shop up in Leeds, so I’d take my tunes, try them out on the system in their shop and they’d be like “do this…do that…do this…” So I’d come back with another one a few days later and talk to them about it. It was kinda like trial and error, being guided the way a little bit by those boys. That was before dubstep was really dubstep; I was just making dub music, trying it out. I remember Digital Mystikz doing a set at Sub Dub and that was it. Dubstep was like what I was doing musically, but it was just a little bit more - made the beats a bit faster and harder…I was just dub, no step. It’s only within the two years that I’ve put a ‘step’ on the end. (laughs) I used to make hip hop and dub under the name Rusk, so I ran with Rusko for my dubstep productions.
DJING
Caspa: After I put a few productions out, I put out quite a big tune on Tempa in 2005, probably the tune that did it for me – it was called ‘Rubber Chicken.’ It was one of the first tunes that started to really use that ‘wob wob’ sort of sound. Once I put that tune out, I got hit up a lot more for gigs – they’d never heard me DJ before, but they just wanted to hear me play my new tunes. My first gig abroad was in Denmark and the second one was Finland, then I did a tour in Australia, so I just jumped straight into it basically. Rusko and I started DJing together after we made a tune together called ‘Custard Chucker.’ We were remixing each other’s tunes as well. So even though we’re separate artists, people started associating us with each other and booking us together for gigs. We can do a good set together because we play the same sound…
Rusko: I reckon we’re best when we play back to back. If I get booked to play a one hour set, I’ll end up playing exactly the same tunes as Caspa – we end up arguing who gets to play what! (laughs) We’ve got almost identical record bags.
Caspa: We work well together as DJs for that reason.
Rusko: Plus we have a quick turnaround; all the artists on our label are knocking out tunes constantly. So your DJ box one month looks completely different the next; the turnaround of tunes is fast. That’s good, because people get bored of tunes so quickly, they’re hungry for it, they want to hear more, more, more, more…I moved down the street from him and started helping on board with Dub Police, helping out with the label and that kind of stuff so it kind of rolled out from there. We live near each other, it’s almost like we live together!
Caspa: The first release came out in 2006 and he moved down here…what, about 6 months ago?
Rusko: Yeah, about that. I’d been making dub and I made about 4 dubstep tunes, only 2 minutes long each, to play as interludes in my own DJ sets. It was little more than an experiment. They weren’t even proper tunes – four 2 minute dubstep interludes – to have a go at it and put in my set, and two of them ended up getting put out on the first EP. So I thought I’d try it out - move to London and make dubstep. It was a proper gamble moving down to London; I didn’t know a single person in London apart from Caspa so I was literally leaving my family, my girlfriend, my home, everything. The first few months were hard – no job, no money, all my friends were still living up north, it was hard work. Luckily it’s all come back together now, but it was a real gamble – on one release, it could either go one way or the other…and it’s gone further, way further, than I expected it to.I still make a bit of dub and hip hop on the side because when you’re travelling around doing gigs, all people want to talk about and hear is dubstep. I get sick to the back teeth with it! So when I go home, sometimes I just want to make some nice, chillin, melodic hip hop; I don’t necessarily want to go home and do more dubstep. Usually when I go home after a weekend of dubstep, I’ll go home and crack on with some drum n bass, dub, hip hop.
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