How to kill the dj [part two] mixed by OPTIMO

現在のディスコ・パンク・シーンの先駆け的な存在として絶大な支持を集めたタイガースシの真打ミックス『how to kill the dj』が500%パワーアップして復活！
今回のミックスを手がけるのは、スコットランドのDJデュオで、ヨーロッパではいまや2 Many DJSやIvan Smaggheと並んで大人気のオプティモ。カール・クレイグ、ラリー・レヴァン、アクフェンから、ディペッシュ・モード、ギャング・オヴ・フォー、ラプチャー、ブロンディー、ファンカデリック、キャメオ、ベーシック・チャンネル、ソフト・セル、ミロスラフ・ヴィトスまで、全42曲を74分に凝縮して一挙串刺し！さらにボーナス・ディスクとしてそれらミックスに使用された旧音源18曲をノン・ミックスで収録したコンピレーションをつけた超特盛仕様の2枚組！ごっつあんです！

The focus of the How to Kill the DJ series shifts from Paris' Pulp club -- as heard on Ivan Smagghe's first installment -- to Glasgow's Sub Club, and is presented by JG Wilkes and JD Twitch, the pair of DJs responsible for the club's weekly Optimo nights. These two go far beyond forcing as many tracks from as many genres as possible into one miniaturized set. While plenty of DJs attempt to whip through as many of their favorite tracks as possible, with little regard for continuity or common sense, the Optimo DJs have their unlikely connections down to a science. The 42-track sequence looks like a frightful mess, a slapdash collage of post-punk, funk, disco, minimal house, film scores -- not unlike the result of putting a music obsessive's portable MP3 device on shuffle. How would Weather Report bassist Miroslav Vitous react to hearing his deep fusion-funk cut "New York City" come out of the pounding breakbeats of Hashim's "Rocking the Planet," only to flow into the red-light district electro-pop of Soft Cell's "Sex Dwarf"? What business does the hairy-knuckle grind of the Stranglers' "Nice and Sleazy" have connecting the Junkyard Band's go-go percussion orgy to Pablo's version of the Meters' "Cissy Strut"? The layering is so thought-out and complex that it's not uncommon for three tracks to be playing at once -- take, for instance, the segment where Black Devil Disco Club's baleful Italo-disco jitter, Loose Joints' delirious oddball disco, and Akufen's spring-shot geegaw-ridden microhouse all lock into step with one another. How did these DJs think of these sequences? Mathematical formulas? Beyond the impression left by all the imagination and execution is the effect of the set as a whole. While you might need a breather from the unforgiving onslaught of disparate sounds that are linked up, the set lacks a lull. If that's not enough, the release comes with a second disc of unmixed tracks that begins with the brilliant sequence of Angelo Badalamenti's "Mulholland Drive Theme," Arthur Russell's "Another Thought," and the Balanescu Quartet's version of Kraftwerk's "The Model." This less dance-oriented disc is almost as valuable and as the first, just on the basis of the openers and a snarling, driving cover of Eno's "Baby's on Fire" done by Fall-fallout band the Creepers. ~ Andy Kellman