2011’s The Juicy XX, meanwhile, aimed to combine Notorious BIG and The xx, but as Islands Is The Limit shows, sometimes songs just aren’t meant to be spliced together and no amount of lo-fi “texture” can change that.
2009’s Jaydiohead, for example, seemed to get attention purely because Radiohead feel like a band most lonely wannabe musicians have tried to mashup using Cubase or whatever it is. While acts such as Girl Talk and 3LAU looked to bring something fresh and fun to the table – or in the case of the latter’s Dance Floor Filth, capitalize on the EDM explosion – others were keen to jump on the authentic mashup bandwagon. Exhausting, right? But worse was to come, with the sheer availability of hip-hop a cappellas seen by some as an excuse to knock up any old nonsense. In its wake, however, came the similarly straight-faced The Purple Album (Jay Z mixed with Prince), The Double Black Album (Jay Z mixed with Metallica) and The Black And Blue Album (Jay Z mixed with Weezer). What The Grey Album achieved was a breakthrough into the mainstream media, as opposed to just being an odd novelty created by a lonely student after too many jazz cigarettes, which the internet goes mad for for a day or two (Entertainment Weekly named it the best album of 2004, Jay Z said it was “a genius idea” and Paul McCartney called it a “tribute”). Rather than aim to piss anyone off, The Grey Album is more a celebration of both artists, which, for better or worse, offers up fewer knowing winks than Six Swans. Again, the album works because it feels like more than just the sum of its parts, with Danger Mouse, AKA Brian Burton, recontextualising both sets of songs to create an exciting hybrid. A mashup of the vocal a cappellas from Jay Z’s The Black Album and the Beatles’ self-titled record, AKA The White Album, it went from intriguing art project meant for a few friends to a global success that inspired a slew of less inspired copycat albums. Perhaps the most famous of the latter category is producer Danger Mouse’s The Grey Album, released in 2004. 2) or albums that focus solely on blending two previously released bodies of work. Mashups (or blends or bootlegs or bastard pop songs) aren’t new of course – your friends and mine Bill Buchanan and Dickie Goodman actually made the first one in 1956 – but since the invention of the internet, and the rise of the bedroom producer, they’ve become more and more prevalent, either as standalone songs (who can forget A Stroke of Genie-us, ie Genie In A Bottle mashed with Hard To Explain), compilation albums (2ManyDJs’ hugely influential 2003 album As Heard on Radio Soulwax Pt.
As with most mashups, Six Swans relies on the initial thrill of an odd juxtaposition, its success or otherwise down to how long that feeling can last before the novelty wears off. Surprisingly, the whole thing works quite well – especially opener Death Over Dignity, which blends Stevens’ delicate Carrie And Lowell opener with Drake’s Over – with the pair’s different musical approaches simultaneously coalescing and jarring to create a sort of sad aggression.
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Compiled by Riveyonce Cuoknowles (“your number one source for rivers cuomo and beyoncé knowles”, apparently) – a Tumblr account that’s also prone to the odd Sufjan/Drake fan fiction – the 11-track album pulls together various mash-ups from around the internet and is currently still available for free on Bandcamp.
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