aps & Jones aren’t mash-up artists, okay? Let’s get that straight from the get-go. When they mix, for example, the Pixies’ “Monkey Gone to Heaven” and the Beastie Boys’ “Brass Monkey,” they don’t drop the vocals out of one and the instrumental track from the other, nope. They play them one on top of the other, letting your ear decide what it picks up from each song. Much more akin to DJ/rupture than 2 Many DJs, they’re more interested in the musicality of the songs they use, and in the collisions they create with other songs, than in making something entirely new. Like in rupture’s best work, Caps & Jones expose the similarities between (as ever) seemingly disparate songs, but then sometimes let their favorites just play.

In one of the most beautiful moments on their new Moving In Stereo mix, during the segment titled “Yeah Yeah Yeah Yeah Yeah Yeah Yeah Yeah,” elements of Magnetic Fields’ “100,000 Fireflies,” Exposé’s “Point of No Return,” and JJ Fad’s “Supersonic” all gorgeously collide, before giving way to Smashing Pumpkins’ “1979” —first atop JJ Fad, but then for a good 20 seconds, all on its own. The key to Caps & Jones is that they’re not studio artists, they’re DJs, and you can hear it in their work. They’re also clearly music lovers, which is why (I’d assume) they let a good minute-plus of Bowie’s “Ashes to Ashes” play, over 8 minutes into the aforementioned “Yeah x8.”

Don’t go thinking that DJs can’t make great records, however—remember, this is basically a live mix, not an artist album, so the effect is the same as hearing them spin in a club. Not exactly danceable, at least not always, but always interesting (for their own musical tastes in addition to hearing the ways in which they bump and flex records against, and with, each other). “1970s Heron Flow” is particularly lovely: its first 2 minutes feature the a cappella of Fabolous’ “Breathe” laid atop The Police’s “Darkness,” Toto’s “Africa,” and Case’s “Touch Me Tease Me,” and each segment works something special. That segues into Gil Scott-Heron’s “Angeldust” (which sounds for all the world to me like a Tom Tom Club track), laid under Beanie Sigel and Cam’ron’s new “Wanted (On the Run), another “wow” kind of sound collision. Oh, and then there’s like a minute of Steely Dan’s “Black Cow”—why not?

And you haven’t even heard what they do with Heart’s “These Dreams.” Or how well Cream’s “Badge” mixes with a Diwali riddim. Moving In Stereo isn’t life changing, but it’s a damned fine mix, and it always entertains. If that’s not reason enough to invest in a record, then I guess I don’t know what is.