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London-based DJ and producer Wayne Goodlitt, usually disguised under the
moniker Roska, debuted with EPs and singles
of techno and house for the dubsteb and garage generation:
Elevated Levels (2008),
The Climate Change (2008),
Feeline/ Boxed In (2008),
TWC (2009), an influential work of "tech house",
In Your Handbag (2009),
Squark (2009).
He contributed to create the "UK funky" genre that blends electronic dance music
of the 2000s (grime, garage, dubstep, breakcore) and African/Caribbean rhythms.
His first full-length, Roska (Rinse, 2010), was the first major
statement of UK Funky since Geeneus' Volumes: One (2008).
The nine-minute instrumental Tomorrow Is Today is the most ambitious
piece of the album:
minimalist chamber music for harsh hip-hoppish beat and staccato string patterns.
Most of the rest is devoted to vocal tracks.
A much more relaxed rhythm lulls the bouncy and symphonic Love 2 Nite,
basically a soul ballad (with vocalist Jamie George).
The better Wonderful Day (with the same vocalist) stages a propulsive
house-like ascent to quasi-psychedelic heights while demoting the
eloquent rigmarole to the status of looped sound effect.
The title of Energy is misleading, as this song is hardly more than
a tepid chill-out shuffle for tired dancers of a mid-1990s house club.
Even that sounds overproduced compared with
I Need Love, a hybrid of deep house and garage, that toys with mechanical loops of Anesha's vocals in a desolate electronic soundscape over a spartan beat that sounds like two sticks beaten together.
Other instrumentals include Squark, that boasts the best exploitation of
African tribal polyrhythms, A close second is
Hey Cutie, with its android moves of Afrobeat nonsense.
The comic dubstep Time Stamp is disposable, but the
dubby Messages sounds almost like an alien deconstruction of
Giorgio Moroder's From Here to Eternity,
a quasi-anthemic flow of disjointed and meaningless sound effects.
By the same token, Burn In Flames crossfertilizes with synth-pop of the 1980s and delivers the most energetic beat of the album.
Just like with Geeneus' Volumes: One (2008), the album format detracts
quite a bit from the ebullience of the genre.
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