Monday, November 22, 2010


All Day
(Illegal Art)

Pastiche artist Gregg Gillis' deliriously schizophrenic and omnivorously referential mash-up records have long been lauded as paradigm-shifting encapsulations of the post-millennial pop music fan's dwindling attention span, but his only real epiphany was in a matter of scope. Sampling has always been the modus operandi of hip hop, but instead of lifting, say, a horn sample or a snare drum hit, Gillis took that process to its logical end point by using everything at hand all at once. The only original product is the varied bits of sampled rock and hip hop in conversation with one another. A record like this, his fifth, is the ideal metaphor for how we listen to music now, skipping through not just songs and artists, but genres and rhythms and wildly varying musical moods on a whim. The result is Lady Gaga in concert with The Stooges, Rage Against the Machine versus M.I.A., Lil Jon shouting over Simon and Garfunkle's “Cecilia”, and Big Boi rapping over a slinky beat from Portishead. If that sentence sounds confusing, it only goes some small way toward approximating the rush of the hundreds of references here. Perhaps none among them is so stylistically incongruous as Ol' Dirty Bastard dirtying up Radiohead's “Creep.” “I'm a creep, I'm a weirdo, Oh baby I like it raw.” Depending on your susceptibility to this cut and paste style (and probably your age) that's either the best, or the worst, thing you've ever heard. 

(Available for free download now at

Essential: “Jump On Stage”

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