Session notes from the booth.

All-Night Vigil, Op. 37: Vespers: Ii. Praise the Lord, O My Soul by Sergei Rachmaninoff lands here because Keeps the emotional pressure steady after The Zephyr Song by Red Hot Chili Peppers and turns the color from 2000s into 10s.. The classical edge gives the turn a more precise contour than a plain mood match. Tron Legacy (End Titles) can step in after it without the handoff feeling pre-chewed.

On All-Night Vigil (2005), All-Night Vigil, Op. 37: Vespers: Ii. Praise the Lord, O My Soul shows Sergei Rachmaninoff working in a 2000s 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. Inside Score pocket, it reads as curation rather than stunt programming.

Listen for the classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Tron Legacy (End Titles) to arrive without the segue feeling forced.

Tron Legacy (End Titles) keeps score 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. The Outsiders can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Tron Legacy (End Titles) 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. Inside Score 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 All-Night Vigil, Op. 37: Vespers: Ii. Praise the Lord, O My Soul without borrowing the same emotional weight. It also leaves a lane for The Outsiders to arrive without the segue feeling forced.

The Outsiders keeps score pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match.

On Around The Sun (2004), The Outsiders shows R.E.M. 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. Inside Score pocket, it reads as curation rather than stunt programming.

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 Tron Legacy (End Titles) without borrowing the same emotional weight.

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.

Cover Me by Björk lands here because Exit Stonehenge by Soundgarden transitions smoothly after The Modern Things by Björk and sets up a new direction without overwhelming the emotional arc.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Exit Stonehenge can step in after it without the handoff feeling pre-chewed.

On Post (1995), Cover Me shows Björk working in a 1990s 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 Exit Stonehenge to arrive without the segue feeling forced.

Exit Stonehenge answers Cover Me by Björk 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. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Superunknown (Deluxe Edition - 4CD) (1994), Exit Stonehenge shows Soundgarden working in a 1990s 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 Cover Me without borrowing the same emotional weight. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) answers Exit Stonehenge by Soundgarden 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 Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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 Exit Stonehenge without borrowing the same emotional weight.

The Fool on the Hill by The Beatles lands here because C.L.U. by Daft Punk keeps the emotional pressure steady after Cover Me by Björk and maintains electronic / leftfield in the grain. The risk level matches the hour's appetite for surprise, ensuring a dynamic and engaging playlist.. The rock edge gives the turn a more precise contour than a plain mood match. C.L.U. can step in after it without the handoff feeling pre-chewed.

On Magical Mystery Tour (1967), The Fool on the Hill shows The Beatles working in a 1960s 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. Inside House pocket, it reads as curation rather than stunt programming.

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 C.L.U. to arrive without the segue feeling forced.

C.L.U. keeps house 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. The Modern Things 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. Inside House 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 The Fool on the Hill without borrowing the same emotional weight. It also leaves a lane for The Modern Things to arrive without the segue feeling forced.

The Modern Things keeps house 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 Post (1995), The Modern Things shows Björk working in a 1990s 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. Inside House 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 C.L.U. without borrowing the same emotional weight.

East River Drive by Grover Washington, Jr. lands here because Tron Legacy (End Titles) by Daft Punk states the thesis, and Cover Me by Björk answers it with a fresh turn.. The jazz edge gives the turn a more precise contour than a plain mood match. Tron Legacy (End Titles) can step in after it without the handoff feeling pre-chewed.

On Dynamic Audiophile Jazz Vol.1 (2019), East River Drive shows Grover Washington, Jr. working in a 2010s pocket with jazz in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Tron Legacy (End Titles) to arrive without the segue feeling forced.

Tron Legacy (End Titles) keeps house 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. Cover Me can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Tron Legacy (End Titles) 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. Inside House 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 East River Drive without borrowing the same emotional weight. It also leaves a lane for Cover Me to arrive without the segue feeling forced.

Cover Me keeps house 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 Post (1995), Cover Me shows Björk working in a 1990s 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. Inside House 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 Tron Legacy (End Titles) without borrowing the same emotional weight.

Loose Lucy by Grateful Dead lands here because it keeps the forward motion / loose magnetism pull alive without sanding off the grain that makes this hour interesting. The folk rock / country rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. Sea of Simulation can step in after it without the handoff feeling pre-chewed.

On From the Mars Hotel (1974), Loose Lucy shows Grateful Dead working in a 1970s pocket with folk rock / country rock / psychedelic rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 10s pressure, it reads as curation rather than stunt programming.

Listen for the folk rock / country rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Sea of Simulation to arrive without the segue feeling forced.

Sea of Simulation keeps 10s pressure 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. Echoes Of Mine can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Sea of Simulation 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 10s pressure, 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 Loose Lucy without borrowing the same emotional weight. It also leaves a lane for Echoes Of Mine to arrive without the segue feeling forced.

Echoes Of Mine keeps 10s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / rock edge gives the turn a more precise contour than a plain mood match.

On Hurry Up, We're Dreaming. (18), Echoes Of Mine shows M83 working in a 10s pocket with electronic / rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 10s pressure, it reads as curation rather than stunt programming.

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 Sea of Simulation without borrowing the same emotional weight.