Session notes from the booth.

C.L.U. by Daft Punk lands here because People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine and Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads provide a sharp two-step that deepens and lands the emotional arc after I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), C.L.U. shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) answers C.L.U. by Daft Punk with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 2020s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers C.L.U. without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine with a related tension instead of a copycat move, so the sequence keeps opening out. The pop / rock edge gives the turn a more precise contour than a plain mood match.

On Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 2010s pocket with pop / rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

Faith (Remastered) by George Michael lands here because Electro pocket - keeps the emotional pressure steady after Long Day by Various Interprets and turns the color from 1990s into 0s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Baptism can step in after it without the handoff feeling pre-chewed.

On George Michael & Wham! Last Christmas: The Original Motion Picture Soundtrack (2019), Faith (Remastered) shows George Michael working in a 2010s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Baptism to arrive without the segue feeling forced.

Baptism keeps electro pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electroclash / leftfield edge gives the turn a more precise contour than a plain mood match. The Game Has Changed can step in after it without the handoff feeling pre-chewed.

On Crystal Castles (4), Baptism shows Crystal Castles working in a 0s pocket with electroclash / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the electroclash / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Faith (Remastered) without borrowing the same emotional weight. It also leaves a lane for The Game Has Changed to arrive without the segue feeling forced.

The Game Has Changed keeps electro pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), The Game Has Changed shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Baptism without borrowing the same emotional weight.