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Gregg Gillis has plenty to say about music. What he has to say about life, which is that "I'd Rather" equals "Gimme Some Lovin'," remains more limited. Nevertheless, sequences here give me hope.
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Feed the Animals, despite its tentative start, is chocked full of the same bombastic booty-shaking moments that defined "Night Ripper."
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Gillis' sense of sonic proportion gives the whole mix a curvaceousness that make even the most unnatural tandems seem perfectly logical.
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If you've heard any of his previous work (including the fairly recent Night Ripper), you know the modus operandi for Girl Talk, but Feed The Animals is even on another level in terms of sheer density. Because of this, just about everyone who hears it will have different favorite moments that stick out to them, and that's part of the beauty.
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His latest musical highlight reel is dense with rib-nudging gags and indelible moments.
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Feed the Animals is a wonderful achievement, but don’t take my pseudo-intellectual pontification as proof of anything, go listen to it yourself.
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Rarely is postmodern art such bloody good fun.
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Feed the Animals helps to solidify Gillis' role as the supreme 80s-baby pop synthesizer.
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Feed the Animals, while perhaps not as fresh as "Night Ripper," is a sweaty, neon-lit, seizure inducing, off-the-wall, utter delight.
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Most of the time listening to anything that's on the Hot 100 is considered a guilty pleasure. Music for females, not fanboys. But thanks to Girl Talk, Feed the Animals makes the feeling less filthy—thus the embarrassment is less painful.
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BlenderA DJ is only as good as his taste, and Girl Talk is immaculate. [Sept 2008, p.78]
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Alternative PressAnimals is a raucous and hugely entertaining effort that doubles as a virtual "Name That Tune" game. [Nov 2008, p.164]
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Some couplings are brilliant.... Too often, though, the sheer familiarity of Girl Talk's building blocks detracts from his particular accomplishment.
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While the tracks never reach and identity outside their own samples Greg does breath fresh new life into them and make things you've probably heard a thousand times, exciting again.
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Trading in easy recognition/gratification, the barrage grows as dizzyingly nostalgic as Oz's tornado. [Sep 2008, p.116]
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Under The RadarGillis finds his inspiration in just that, celebrating the mixed messages, the stupidity, the sensuality, the sheer schizophrenia, and echoing them back to us like a machine gun of instant nostalgia. And you can dance to it. [Fall 2008, p.81]
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Doling out more free samples than Sam's Club on Sundays, Girl Talk's copyright-challenging fourth LP cuts and pastes more than 300 song snippets into a seamless but fervently paced 54-minute aural collage of club bangers that's every bit as enticing as his 2006 career-defining opus, "Night Ripper," though it sounds more like a companion piece than a fresh body of work.
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Aside from these conceptual assertions that it evokes, Feed the Animals is a good record. Though it’s broken up into 14 tracks, it functions best (and as Girl Talk intends) as a single 53-minute mash-up.
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Feed The Animals isn’t much of anything at all. It’s just another clip show of all your favorite records.
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UncutSadly, Feed The Animals blends commercial US rap with rock classics with so little charm or skll, that even Jive Bunny is slightly annoyed you've used his name in vain. [Nov 2008, p.96]
User score distribution:
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Positive: 17 out of 20
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Mixed: 0 out of 20
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Negative: 3 out of 20
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PeterF.Sep 21, 2009
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JahW.Aug 18, 2009Immaculate blend. The term mash-up does this genre a disservice - nothing is mashed at all. One of my all-time faves - and SO ACCESSIBLE.
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PaulH.Oct 24, 2008