Introducing The Rusty G’s and Debut Album ‘Low’.

Rusty G’s – Milton Keynes, England, United Kingdom.


The Rusty G’s are a two-piece hailing from Milton Keynes. The band draw influences from an absolute ton of 90’s Alternative records, as well as some Sleaze Rock, Blues and Alternative music in general, leaving a sound which has enabled them to make frenzied, energetic alternative music that’ll stomp it’s way into your earholes.

After gigging extensively and supporting some great artists like Electric Mary, Dead Sons, Johnny Foreigner and Nine Black Alps they have recorded their debut album Low, which is set to drop this coming May.


Starting the album with ‘Oh Yeah’, there’s no holding back with the drumming smashing it’s way to your ears. Taking influence from Britpop, especially the book of Blur‘s ‘Song 2’, it’s a crowd mover.

Vocally the nasal tone to smashes (again) it’s way through creating a great energy with a hook laden and catchy chorus, where you really won’t need to think about what is being said, as it isn’t really built on too much substance, rather built on a crowd pleasing and “head-bobbing” dynamic.

For ‘Crawl’, both instruments crash through, completely in sync, creating an energy you’d rather pogo to than pitt too – it’s always great to jump around aimlessly, lets be honest. All the while the guitar screams Bleach era Nirvana especially, their cover of ‘Love Buzz’.

Going for the cliche of loud-quiet-loud again, cutting the guitar out in the first verse for everything to build itself around. The drums are screaming Dale Crover, with the way he crashes everything, creating a raw atmosphere of energy, with the least 90’s thing about this song being the unexpected yet welcome guitar solo.

Towards the end of the track you can hear the G’s vocalist give his best Kurt Cobain impression, trying to go for a raspy tone instead of a nasal approach, which to be honest – doesn’t sound half-bad.

Again, the tune to ‘Taking Over’ is overly familiar, not treading any new territory or being inventive with the influences used, with the riff sounding eerily like Blue Oyster Cult‘s – ‘Don’t Fear The Reaper’.

Picasso himself said that ‘Good artists borrow and great artists steal‘, with the issue here being that too small a pool of influences can make such a feat too obvious. However, the “saving grace” of this song is at the end, with the harmony between the two members makes it catchier than chlamydia. You heard it here first.

Next, ‘I Don’t Want This’ provides another 90’s Alternative revival tune with a driving energy that makes you want to bob around and not really think about anything at all. The number also has a cowbell and any song that has a cowbell has to be cool as hell right? Sentiments of the lyrics are as the title implies, again not really adding anything new to the subject but imploring you to sing-along anyway.

‘Don’t Belong’ comes in on the melodic down-tempo, using reflective, spacious overdriven chords resembling a distinct similarity to Foo Fighters ‘Everlong’. Vocalist, James Finch comes in from a 90’s Grunge vibe, utilising a nasally apathetic tonality to his voice, whilst snarling in the chorus creating a frenzied energy, all the while powered by drummer Dan Lopez, pummelling his way through the song in another ode to the 90’s.

Lyrically, it’s arguably cliched and says exactly what’s on the tin, using the all too common sentiment about not fitting in, without really approaching the subject from any new angle. The track itself is a fun listen though, just not particularly world changing.

‘The Killer’ is from the school of Soundgarden‘s Badmotorfinger, with it’s riff driving and jagged in it’s passing and the drumming relentlessly keeping pace. ‘The Killer’ has a killer palm mute mid-way, with whispers of ‘I don’t care‘, as everything builds up around the two-piece. Like many of the tracks on Low, they use extra instrumentation against their two piece formula, which is both welcome and uncertain.

With another riff that eerily reminds me of something else, ‘Waiting’ is a fun track but simply glides by. While ‘Static’, and it’s modern day Blues-Rock accosts you with it’s drum/guitar stomp vibe before going into a satisfying bluesy riff. ‘Static’ is good differentiation from the rest of the record and an ear pleaser and a high-point on Low. 

Another killer-riff kicks it off with an equally driven kick-drum on ‘So Low’. Again, obviously influenced by Soundgarden’s Badmotorfinger, it’s infectious frenzied energy is felt throughout.


On ‘Losing You’, the combination of extended vocal notes and a well driven, mid paced riff, leads to a sleaze-filled slab of “hair rock”, designed for slow-motion head banging only. You’ve been warned.

This album often feels like a great playlist from a person who listens to a lot of 90’s Alternative. It doesn’t take itself too seriously and flows nicely from beginning to end.

However, there is often fine line between taking influence from people who inspired you and plagiarism, and said line is sometimes stepped too close too on this album, despite it’s fun and approachable boasting of the best in 90’s Alternative.

Find the band below: 

  • Head to Facebook, Twitter, Instagram and the Rusty G’s Official Website for updates.
  • The band’s back catalogue can be found via iTunes, Amazon and Spotify with this new release, available on these platforms from the 9th May 2016.
  • Rusty G’s also have some tracks posted on SoundCloud.
  • For videos, head to the band’s Youtube Channel.
  • For hard copies, head to a show or contact the band.


Daniel Stothard

Daniel Stothard is something of a music buff. He resides in the city of Bath and can often be found at local gigs. He is also the Vocalist of Bath based Post-Punk band, Television Villain.

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