lthough their actual mixtape selection is hurting due to CD-Rs reaching critical mass, Turntable Lab still stands as the prime online retailer for hip-hop DJs and enthusiasts. Serving as a showcase for both bedroom wizards and DMC champions to share their recorded output, it was inevitable that the store would start issuing mixes under its own imprint. With this, the fledgling label's second outing, the question must be posed: what possessed them to release a project that would be inevitably classified by the casual observer as yet another mash-up mix?

The problem with the current mash-up trend is that it extracts and isolates a single facet of DJ culture, and puts it on display like a newly discovered species of animal. For all of their best intentions in trying to make some sort of statement about the inherent likeability and ubiquitous nature of pop music, the flagship artists of this craze, 2 Many DJs, have only served to create enjoyable novelties with questionable lasting value. Enter Diplo and Low Budget, taking back the mash-up from the Pro Toolers, and integrating it into a cohesive club mix for the people.

Note the inclusion of the word ‘club’. While artists like Ted Shred and DJ Jester defiantly piss on genre pigeonholing (and in the case of Ted Shred, conventional pitch and speed settings), their approaches don’t scream mainstream acceptance, let alone work in any club not in tune with the “college radio freeform” mindset. The beauty of Hollertronix is how it pushes the limits of crossing genres while maintaining a listenability level that would appeal to a wide cross-section, from the ritzy, high-profile club scenesters and artfags (warning: mix contains Bjork) to the mainstream rap lovers and discerning mixtape aficionados. That also means opting to abstain from showy scratching and doubling routines in favor of subtle mixing and intricate blending – whatever it takes to keep the party moving.

While there are a fair amount of mash-ups present, almost all are executed brilliantly. Where previous watermarks in the fad were generally emphasized the “wackiness” in pairing, not enough shine goes to precision synching and sidestepping a forced feel. The first major combo, Missy Elliot’s “Gossip Folks” and the Clash’s “Rock the Casbah” flows naturally, as well as other pairings, including the Eurythmics/David Banner and New Order/Trina. The only sore thumb comes from a combination of Beethoven’s 5th and a DMX acapella.

The main reason why these mash-ups work in the first place, though, is that they aren’t the focal point of the mix. Elongated sections of southern crunk, throwback old-school jams (read: early 1980s, not early 1990s), new wave, smooth dancehall, and Baltimore and Miami-based ghetto house all sit easily next to one another. Throw in the club perquisite string of make out songs capped by R. Kelly’s “Feelin On Yo Booty”, and you have a warm and inviting vibe that never lingers in one style for too long. Hell, any mix that can keep me entertained while sincerely playing Bone Crusher must be doing something right.