Session notes from the booth.

Exit Stonehenge by Soundgarden lands here because Keeps the emotional pressure steady after Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and keeps pop in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Learn (Live at Subterranea, London 09/28/95) can step in after it without the handoff feeling pre-chewed.

On Echo Of Miles: Scattered Tracks Across The Path (2014), Exit Stonehenge shows Soundgarden working in a 2010s 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. It also leaves a lane for You Learn (Live at Subterranea, London 09/28/95) to arrive without the segue feeling forced.

You Learn (Live at Subterranea, London 09/28/95) answers Exit Stonehenge by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Caroline No (Stereo) can step in after it without the handoff feeling pre-chewed.

On Live at Subterranea, London 09/28/95 (Previously Unreleased) (2015), You Learn (Live at Subterranea, London 09/28/95) shows Alanis Morissette working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Exit Stonehenge without borrowing the same emotional weight. It also leaves a lane for Caroline No (Stereo) to arrive without the segue feeling forced.

Caroline No (Stereo) answers You Learn (Live at Subterranea, London 09/28/95) by Alanis Morissette with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On Pet Sounds (CD 1) [50th Anniversary Edition] (2016), Caroline No (Stereo) shows The Beach Boys working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You Learn (Live at Subterranea, London 09/28/95) without borrowing the same emotional weight.

The Telephantasm by Soundgarden lands here because People of the Sun (Live) by Rage Against The Machine and Cortez the Killer by Neil Young & Crazy Horse provide a strong emotional arc and keep pop, rock in the grain.. The pop, rock 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 The Telephantasm (2010), The Telephantasm shows Soundgarden 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. 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 The Telephantasm by Soundgarden 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. Cortez the Killer 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 The Telephantasm without borrowing the same emotional weight. It also leaves a lane for Cortez the Killer to arrive without the segue feeling forced.

Cortez the Killer 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 Zuma (1975), Cortez the Killer shows Neil Young & Crazy Horse working in a 1970s 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.

Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. lands here because Keeps the emotional pressure steady after Préludes Flasques: Idylle Cynique by Satie and changes the palette without cutting the thread.. The pop edge gives the turn a more precise contour than a plain mood match. The Apologist can step in after it without the handoff feeling pre-chewed.

On The Essential Britney Spears (1) (2013), Boys (The Co-Ed Remix) shows Britney Spears feat. Pharrell Williams of N.E.R.D. working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Apologist to arrive without the segue feeling forced.

The Apologist answers Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match. Rhinosaur can step in after it without the handoff feeling pre-chewed.

On Up (1998), The Apologist shows R.E.M. working in a 1990s pocket with alternative 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 alternative texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Boys (The Co-Ed Remix) without borrowing the same emotional weight. It also leaves a lane for Rhinosaur to arrive without the segue feeling forced.

Rhinosaur answers The Apologist by R.E.M. 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 Down On The Upside (1993), Rhinosaur shows Soundgarden working in a 1990s 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 The Apologist without borrowing the same emotional weight.

Stand Back (Remastered) by Stevie Nicks lands here because Build a real arc instead of stacking safe mood matches.. The rock edge gives the turn a more precise contour than a plain mood match. Tequila Sunrise can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Stand Back (Remastered) shows Stevie Nicks working in a 2010s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Tequila Sunrise to arrive without the segue feeling forced.

Tequila Sunrise answers Stand Back (Remastered) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Burden In My Hand can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Tequila Sunrise shows Eagles working in a 2000s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Stand Back (Remastered) without borrowing the same emotional weight. It also leaves a lane for Burden In My Hand to arrive without the segue feeling forced.

Burden In My Hand answers Tequila Sunrise by Eagles 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 A-Sides (1997), Burden In My Hand shows Soundgarden working in a 1990s 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 Tequila Sunrise without borrowing the same emotional weight.

Minipops 67 (source field mix) by Aphex Twin lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie and A Thousand Days Before (Live From The Artists Den) by Soundgarden provide a smooth emotional arc and change the palette without cutting the thread.. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Syro (2014), Minipops 67 (source field mix) shows Aphex Twin working in a 2010s pocket with electronic, ambient, experimental 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 electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Minipops 67 (source field mix) by Aphex Twin with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. A Thousand Days Before (Live From The Artists Den) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Minipops 67 (source field mix) without borrowing the same emotional weight. It also leaves a lane for A Thousand Days Before (Live From The Artists Den) to arrive without the segue feeling forced.

A Thousand Days Before (Live From The Artists Den) answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match.

On Live From The Artists Den (2019), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.