Girl Talk may be the pseudonym of DJ and remixer Greg Gillis. A Pittsburgh indigenous who functions as a biomedical study engineer throughout the day, Gillis stations his other innovative energies into Lady Chat, whose sample-based dance songs have produced him the John Oswald or Christian Marclay from the mash-up era: each of his tunes are designed on recognizable examples of latest strike singles, recontextualized into a completely new piece. Not really a geeky studio room boffin, Gillis can be a manic, intense live performer known for his high-speed exhortations in to the mic and inclination to remove to his underwear on-stage while dance circles around his laptop computer and DJ set up. Initially a teenage punk performer influenced by Japanese sound functions like Merzbow as well as the Boredoms, Gillis produced the surprisingly minor conceptual change into copyright-flouting test work round the change of the millennium. Starting up with the happily anti-copyright collective Illegal Artwork, a shadowy label vaguely linked to the pioneering samplers Negativland, Gillis produced his Compact disc debut with 2002’s Key Journal, an artsy and generally conceptual discharge that converted the recognizable snippets into short blasts of glitchy sound. 2004’s Unstoppable was a lot more immediate, using fewer and much longer samples to generate even more recognizable mash-ups in the way of early KLF singles, producing Girl Talk abruptly the most pop-oriented and available project for the Illegal Artwork roster. Following a pair of vinyl fabric EPs, 2004’s Prevent Cleveland Hate and 2006’s Bone tissue Hard Zaggin’, Gillis’ third record as Girl Chat, 2006’s Evening Ripper, divide the difference between his two prior full-length efforts, using the playfully recognizable examples of the second as well as the more complex buildings of the 1st.