As a pioneer of Dubstep, I honestly expected a lot more from Rusko. To me this album is a step down a path that has already been walked. If you prefer poppier dubstep, you will find it here (with a few songs that you have probably heard on Rusko's older mixes tossed in as well). If want some of that grimy, nasty stuff, there are a couple of new tracks that you'll like, but as far as the whole album goes, I get the feeling this is less for the old fans and more of an attempt to make dubstep more appealing to the masses and make money. I still love you, Rusko, but I'll probably keep mixing your older stuff. :)

ive never heard any of rusko's solo work until this one.. i loved about 10 song, and the rest were just ok. this is something new and something to dance too or just blow ur subs up.. definetly gunna keep up with rusko's new albums.

The whole album from beginning to end straight CLUB BANGIN WOMP WOMP WOMP WOMP wooooooooooo

Rusko's O.M.G.! album is a strong example of the new music genre Dubstep. The songs on this album are largely created through electronic methods of "synthesizing songs from scratch" and "manipulating them in the studio." Great examples of this method are the bunker busting "whomps" of Woo Boost and the Star Wars-like laser blasts of Kumon Kumon. Rusko also uses limited vocals in these songs to provide a narrative while remaining of secondary importance to the instrumental tracks; the vocals are carefully edited to fit the electronic sound in the album, and Rusko is especially apt at melding these synthetic sounds together in a natural fashion that exhilarates the audience and launches each listener to heavenly heights.

O.M.G.! reflects the values of the early members of the WDR school in Germany- extreme control and a scientific approach to the composition. In District Line, the precision of the rhythm is quite evident. Even at points in the track where the sound is glossy and loose, the precision still emanates since this type of sound is created intentionally through audio editing effects, primarily delay and echo. Delay and echo are used frequently throughout the album to tactfully create a distinctly synthetic sound. These effects are especially prevalent in the vocal tracks that often have a robotic-like sound. Vocals are also often manipulated by high-pass filters in order to "thin out" their timbre and higher the pitch, as exemplified in I Love You.

On an aesthetic level, O.M.G.! provides incredible energy to the listener through exaggerated resonating bass lines, aggressive piercing melodies, and powerful inviting lyrics. The shepherd's tone technique is a mainstay in the O.M.G.! album. It is used to create a "rising" sensation that provides the electrifying feeling to listeners throughout the songs on the album. The shepherd's tone, in conjunction with thumping bass lines and frantic treble lines, is a key to this album, and is part of what makes it so intoxicating to an audience.

It's obvious that Rusko is a master at taking advantage of using the managing capacity of cutting-edge audio editing technology to utilize many lines of sound in one track, which is what creates the vibrant and driving sound so characteristic to Rusko's work. Each song on this album exhibits these qualities, which makes album a cohesive one. With hallmark club Dubstep songs like Woo Boost and Hold On, as well as some more lyrical and composed songs like Rubadub Shakedown and Got Da Groove, O.M.G.! is well-balanced and offers a diverse array of songs for its audience. It should be considered a prime example of the Dubstep genre and evolved electronic music.