After several years across the pond, Chris Mercer wants to infiltrate the mainstream. “In the U.K., you can hear it in the afternoon, but (in America) you can’t just turn on the radio and hear dubstep,” he recently told LA Weekly. This summer, he’s trying to change all that bollocks.

He’s producing tracks on Britney Spears’ new album, and if his Mad Decent (Diplo’s label) debut – O.M.G.! – is a bellweather for the state of pop music this year, then Top 40 radio is definitely poised to blow subwoofers to pieces. The album is littered with enough bass (“My Mouth”, “I Love You”) to warrant a “what the !@#$ just happened?” moment after it’s all over.

The lead track, “Woo Blast”, is the angriest, most danceable, low-end assault, to have come through a pair of headphones in a long time, and much like many of O.M.G.!’s highlights, the bass is rhythmic, loud, and impossible to hate. Make sure there’s a lot of space for flailing bodies and head banging when this record gets turned on.

Mercer even channels Three Six Mafia on “Scareware”. Listening to Redlight rhyme over trunk-rattling bass is enough to make a junior stockbroker want to blow his whole paycheck on a purple paint job for his Volkswagen and the used 22’s he’s been eyeing for weeks.

Rusko even hijacks Tupac’s vocoder on “You’re On My Mind Baby”, “Raver’s Special” and “I Love You”. Ironically, it would be challenging to listen to the latter's chest thumping beat without wanting to punch someone in the face.

He acknowledges dubstep’s reggae influence on “District Line” and “Rubadub Shakedown”, which is a welcome mash-up of traditional dub rhythms and synthesized horns you might hear on any random Caribbean reggaeton station. The groove and Rod Azlan’s tastefully auto-tuned vocal could easily produce the finest skanking this side of Skippers’ island night.

While O.M.G.! really shines when Mercer pushes the envelope, some tracks (“Hold On”, “Dial My Number”) feel like filler, and he stumbles when he settles for the status quo on “Kumon Kumon” and “Feel So Real”. Both cuts feel stale and can’t duplicate the insane crunkness of “Woo Blast” and “Got Da Groove”.

Still, Rusko has crafted one of the summer’s best albums. O.M.G.! is a warning call – his siren. He’s coming for us America; he’s got a shitload of bass, and (whether you want to or not) he’s gonna make you shake your ass.