Label: Illegal Art Release date: 15/11/10 Link: Myspace Girl Talk is bloody good at mash-ups, his committal to only using unspoiled, unaltered samples must make his job very difficult, and the fact he manages to use quite so many, and come up with quite the amount of matches that he does makes him a goddamn mash-up virtuoso. If you can say anything about All Day is that it's impressive, standing at 20 minutes longer than any other previous work he's done, and comprising of 372 samples the sheer amount of man hours and talent that's gone into this is huge (making it particularly nice of him to release it for free), and yes, making mash-ups does require talent, so hush you naysayers. But then in the same way that Joe Satriani has a huge amount of talent in playing the guitar, and also happens to make mind numbingly dull music, does Gregg Gillis actually manage to make good music with all of his talent? To a certain extent mash ups are always going to hit a certain level of quality if they are composed with a modicum of talent. There's a certain pleasure to be had when two songs you never imagined together fit like Lego. There's a certain wonder in recognising the opening riff of “Creep” drifting in distinctively and just working. The greatest power of mix ups, and perhaps All Day in particular, is the nostalgic force involved. It makes you remember and enjoy the same old songs all over again, reminding you of their original brilliance. In short,All Day won't infect your mind, it's not going to get stuck in your head, it will however get a huge variety of the songs that it samples stuck in your head. Is this a testament to the quality of the album, or the quality of the songs sampled? The answer of course, as always, is that it's a combination of the two. Girl Talk could hardly get me liking one of the more rubbish Nickleback songs as hard as they tried, but if you just played me 'All The Single Ladies' it probably wouldn't have been bouncing around in my head as much as it has been the past few days. Girl Talk places the songs in a new context, playing them to their strengths, making them even more infectious then they ever were before. Anyway, if you've ever listened to any of his previous work, you know this. What makes All Day, different, better or worse than the previous offerings presented to us? It certainly opens strongly, the mix of 'War Pigs' with 'Move Bitch' (Ludacris) is genius, and genuinely very enjoyable aside from it's sampling context. All Day is lightly peppered with such moments, the introduction of 'Liquid Swords', 'With or Without You' rearing it's ugly head over Lyn Collins. All Day is not without it's highs, moments that will make you laugh with delight. Much of it had my house mates dancing round the kitchen subconsciously (although a few of them didn't quite “get it”). However, All Day has it's problems, and I certainly do not prefer it over Girl Talks previous work. Night Ripper, for example, despite taking essentially the same form, felt much more like a cohesive work. All Day is a collection of good ideas, the claim is made that has to be listened to in one long take (and I of course have), but it's barely necessary. There are no overlaying themes, few recurring samples. One idea segways into the next, and yes it fits together well, but it's too schizophrenic, it doesn't feel like a piece of work leading up to anything in particular, it could be chopped and changed around, the order messed with and it wouldn't be subtracted from. Simply put, a collection of good sampling ideas, rather than a cohesive, carefully put together album. What does this lead to? Firstly, All Day is far too relentless, it doesn't really take a break, and sitting a bloated 71 minutes it becomes boring and actively tiring to listen to. I've found it very difficult to make it through a whole listen without getting bored and wandering away, this isn't a problem with the quality, it's roughly consistent throughout, but rather with the pacing and skittish refusal to sit down in one place for any period of time like a hyperactive child. Because it makes use of quite so many samples, none of them are really ever given enough time to shine, they aren't to take centre stage for a while as they are disposed of quickly and the next one is wheeled out. More criticisms? Oh yes! It's too poppy. That sounds snobby, and it is, but the initial pull of Girl Talk for me was the mixture of classic indie hits with modern pop, leading me to imagine both in new and interesting ways. There's a bit of this here, we've got like Portishead, Fugazi and Radiohead (and others), but in general All Day feels much poppier than it's predecessors, not necessarily a bad thing for some listeners, but too much of All Day is a song I don't really like, mixed with another song I don't really like. Which is great when it's done well, which it often is, but it begins to tire after a while when I'm not really connecting with the music sampled any more. But, All Day isn't bad. I've enjoyed my time with it, and will probably continue to wheel it out in the future. Sampling done to this standard is always going to hit a certain level of quality regardless of how well it's put together, so if you enjoyed his previous work then there is probably something for you here (although you've probably listened to it already, making this review entirely redundant.) I f you've never connected with Girl Talk move away, there's nothing for you here. Those new to his work, don't start here, Night Ripper is better. Photobucket