How is one to compare Girl Talk’s new album, All Day, with the rest?

It is true, Gregg Gillis, the Pittsburgh king of mash-ups, managed to slice and dice 373 samples for the album (the most yet). It is true you can download it from his Illegal Art label website for free (again). And it is true that debate here and Down South still rages over whether Gillis’ method of sampling is illegal or not (proposed amendments to Bill C-32 look to be in our favor).

And what does this all mean? That Girl Talk has released another work of art—one that will resonate with all those DJs who know what it means to find the perfect mix.

But to say All Day is better than the last is a moot point. This album is a continuation of the last four. It is another 62-minute smorgasbord of music that, in one way or another, was witness to your prom dance, your first kiss, an epic road trip, and that night back in your undergrad when you blacked out after drinking way too many Tequila Slammers.

The first ten seconds of All Day reveals a Black Sabbath-Ludacris mash-up accentuated by samples of Tu Pac and Jay-Z, which speaks to the theme of this album. Rap and hip-hop lyrics are strewn throughout, while a seemingly random selection of music—from the Rolling Stones and Phoenix to Iggy Pop and Cyndi Lauper—provides the sampled soundscape. Like his Feed the Animals and Night Ripper releases, the golden moments that make this album a masterpiece come when Gillis rubs nostalgia up alongside shameless pop.

For some, one of these moments will come during the first song when the Ramones, Slick Rick and the Doors become bedfellows or maybe halfway into the 11th, when Kraftwerk and Neil Diamond make their simultaneous debut. Or perhaps it is when Arcade Fire, Ginuwine and Birdman form a trio on the ninth song. Or perhaps, for you, it is when… you get my point.