One of the most consistently creative indie labels gathers up more than enough tracks to necessitate a second compilation.
DFA Compilation #2
is three times the size of
#1
, using the first two discs to compile tracks new and old, while providing a DJ mix on the third. Since the initial batch of 12" releases, the label has expanded its sound and roster at a steady pace. Two of the most notable tracks come from the
Delia Gonzalez & Gavin Russom
single released in early 2004;
"El Monte"
is trippy
ambient
that falls somewhere between
Cluster
and
Manuel Goettsching
, while the
DFA
mix of
"Rise"
lays
electronic
percolations and light whipcracks over a four-four
disco
beat. The terrifically obnoxious "Crass Mix" of
LCD Soundsystem
's
"Yeah"
begins as moderately absorbing
-
punk
until working itself into a chaotic, screeching acid lather. Some older B-sides are dusted off as well, for both better and worse; sounding like an
electro
/
dub
version of a long-lost
post-punk
A-side,
LCD
"Beat Connection"
warrants more spins than the borderline
novelty
hit
"Losing My Edge"
(as heard on
DFA Compilation #1
), while
the Rapture
Captain Sensible
-quoting
"Alabama Sunshine"
scrawls and stammers for three shrill minutes. A handful of exclusives and future singles round out discs one and two. Beyond a trio of
Juan Maclean
tracks -- none of which happen to be as dancefloor-friendly as his three A-sides to date -- the most-anticipated track is a vibrant re-imagined version of
"Bellhead"
from innovative (and recently resuscitated) percussion troupe
Liquid Liquid
. On disc three, the label's
Tim Goldsworthy
Tim Sweeney
shrewdly mix several of the tracks heard on the first two, and include a few that aren't present -- such as the sparkling silicone
funk
of
the Juan Maclean
"Give Me Every Little Thing"
and the
edit of
"Echoes."
This is the greatest attraction of the whole package. While the package's bulkiness is liable to yield complaints of hubristic overindulgence, it's priced far less than a typical three-disc set. ~ Andy Kellman