Session notes from the booth.

This Bright Flash by M83 lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The electronic / rock edge gives the turn a more precise contour than a plain mood match. Fresh Tendrils can step in after it without the handoff feeling pre-chewed.

On Hurry Up, We're Dreaming. (18), This Bright Flash shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Fresh Tendrils to arrive without the segue feeling forced.

Fresh Tendrils answers This Bright Flash by M83 with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative rock edge gives the turn a more precise contour than a plain mood match. Walkin’ On Down The Road can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Fresh Tendrils shows Soundgarden working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers This Bright Flash without borrowing the same emotional weight. It also leaves a lane for Walkin’ On Down The Road to arrive without the segue feeling forced.

Walkin’ On Down The Road answers Fresh Tendrils by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match.

On The Uplift Mofo Party Plan (1987), Walkin’ On Down The Road shows Red Hot Chili Peppers working in a 1980s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Fresh Tendrils without borrowing the same emotional weight.

Going To California by Led Zeppelin lands here because Keeps the emotional pressure steady after You Make It Easy by Air and keeps electronic in the grain. Electronic gives the set a sharper contour than a generic mood match.. The hard rock edge gives the turn a more precise contour than a plain mood match. Hummer can step in after it without the handoff feeling pre-chewed.

On [Led Zeppelin Iv] (1971), Going To California shows Led Zeppelin working in a 1970s pocket with hard rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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

Hummer answers Going To California by Led Zeppelin with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative rock edge gives the turn a more precise contour than a plain mood match. This Bright Flash can step in after it without the handoff feeling pre-chewed.

On Siamese Dream (1993), Hummer shows The Smashing Pumpkins working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Going To California without borrowing the same emotional weight. It also leaves a lane for This Bright Flash to arrive without the segue feeling forced.

This Bright Flash answers Hummer by The Smashing Pumpkins with a related tension instead of a copycat move, so the sequence keeps opening out. The electronic / rock edge gives the turn a more precise contour than a plain mood match.

On Hurry Up, We're Dreaming. (18), This Bright Flash shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Hummer without borrowing the same emotional weight.

Nocturne by Daft Punk lands here because Lay Down Sally by Eric Clapton provides a fresh turn after Slide by Slave, setting up an emotional arc that builds from the soulful and current.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Lay Down Sally can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Nocturne 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 Lay Down Sally to arrive without the segue feeling forced.

Lay Down Sally answers Nocturne 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. Maybe I’m Amazed (2011 Remaster) can step in after it without the handoff feeling pre-chewed.

On Slowhand (1977), Lay Down Sally shows Eric Clapton working in a 1970s 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 Nocturne without borrowing the same emotional weight. It also leaves a lane for Maybe I’m Amazed (2011 Remaster) to arrive without the segue feeling forced.

Maybe I’m Amazed (2011 Remaster) answers Lay Down Sally by Eric Clapton 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 McCartney (1970), Maybe I’m Amazed (2011 Remaster) shows Paul McCartney working in a 1970s 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 Lay Down Sally without borrowing the same emotional weight.