Too Many DJs

\nSoulwax专辑介绍：by Dave ThompsonFrom the moment the "bastard pop" movement began emerging out of the U.K. club underground in the late '90s, opinions on its worth were severely divided -- either it was just a load of old songs, with a load of other old songs played over them, or it was the most exciting development yet to come out of the infant digital recording industry, at least in as much as that industry held in its hand the power to completely re-evaluate the mores and laws of the world it was moving into. 2 Many DJs is initially noteworthy as the first album ever to do legitimately what other exponents of the genre had been doing illegally all along -- that is, constructing entire new performances out of other artist's work by, indeed, playing one song over another, and the more contrary the juxtaposition, the better. But, whereas those other pioneers operate completely below the corporate radar, with the result that the Internet and bootlegs remain their only outlet, Soulwax obtained full clearance for all 45 performances featured and, across one hour-plus mix, tumbling pell-mell into one another. Not that 2 Many DJs is comprised wholly of the mixed marriages for which "bastard pop" is best renowned. Several tracks, the opening Kylie Minogue manipulation included, are, more or less, straightforward remixes. Delve deeper, however, and some magnificently twisted masterpieces emerge. The vocal track of Salt-n-Pepa's "Push It" is layered over the Stooges' "No Fun"; Destiny's Child's "Independent Woman" moves across 10cc's "Dreadlock Holiday"; and E.L.P.'s "Peter Gunn" morphs with both Basement Jaxx's "Where's Your Head At" and Peaches' "**** the Pain Away." Not every performance will be as familiar as those, but that, in a way, only adds to the fun -- anybody unaware of, say, Streamer will certainly want to hear more after witnessing their "Start Button," all the more so since it closes 2 Many DJs with such effectiveness. Of course, time alone will tell whether Soulwax should be applauded or criticized for bringing to the surface a movement that had hitherto existed in a world of furtive mouse clicks alone. The mainstream, after all, has a nasty habit of utterly devaluing rock's most potent developments. "Bastard pop," however, has already spent its lifetime breaking boundaries. 2 Many DJs simply allows the world to visit where those fences used to stand. \n