Annie's contribution to the DJ-Kicks series looks like a mess, and it sometimes sounds like one, but it's a welcome break from mixes put together by DJs who are more interested in matching beats and impressing fellow DJs than sharing favorites. While not the most seasoned or technically skilled DJ, Annie has been spinning for several years, and it's evident she knows how to sequence an unpredictable set of party-friendly songs and tracks, mixing old with new and rare with classic. She excels most at taking tracks out of ...
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Annie's contribution to the DJ-Kicks series looks like a mess, and it sometimes sounds like one, but it's a welcome break from mixes put together by DJs who are more interested in matching beats and impressing fellow DJs than sharing favorites. While not the most seasoned or technically skilled DJ, Annie has been spinning for several years, and it's evident she knows how to sequence an unpredictable set of party-friendly songs and tracks, mixing old with new and rare with classic. She excels most at taking tracks out of their expected contexts and making them fit into her own aesthetic. Take Gucci Crew II's "Sally (That Girl)," the ultimate raunchy nursery rhyme/bass music rap track ("She pulled down her pants and said, 'Splack these hams,'" etc.): Annie's adoration for it seems as unlikely as the image of Altered Images' Clare Grogan getting down to Blowfly's "Odd Balls" in the early '80s, but it makes sense only a couple slots after Bow Wow Wow, and it effectively segues into the throb 'n' screech of Mu's perverse "Paris Hilton." Even more surprising is Bumblebee Unlimited's "Lady Bug," a timeless novelty produced by underground disco superhero Patrick Adams that features two flirtatious bees ("I'm a perfect 36-37-36!"); "Gimme Your Money," a new Annie track, follows it, amalgamating piano-driven house with tribal drumming, snaking garage rock, and self-referencing fluttery strings that were first heard during the intro of Anniemal. In addition to a small batch of up-to-date neo-post-punk tracks made for the tiles (Datarock's Talking Heads impression might as well be titled "Remain in Fear of Buildings"), a couple selections are all but guaranteed to never surface on another mix, such as Toy's opening "Rabbit Pushing Mover" -- which sounds more like a theme for living inside a Christmas snow globe. Provided you're not hung up on smooth transitions and stylistically focused mixes, you should enjoy this DJ-Kicks as much as any other volume released during the past couple years. ~ Andy Kellman, Rovi
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