Session notes from the booth.

Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Airegin (From The Album Bags'Groove) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) a clean lane instead of boxing the handoff in.

Hearing it against Evil Empire matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Airegin (From The Album Bags'Groove) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) instead of crowding the next move.

Airegin (From The Album Bags'Groove) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) lifts the pressure after People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) without snapping the thread. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves After The Gold Rush (Live) by Neil Young & Crazy Horse off Archives, Vol. II: 1972–1976 (10) (2021) a clean lane instead of boxing the handoff in.

Hearing it against INTEGRAL MILES DAVIS 1951-1956 matters because it reads like part of an album world, not a detached single. Airegin (From The Album Bags'Groove) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) works when the set needs collective motion and color instead of blunt force. Miles Davis makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to After The Gold Rush (Live) by Neil Young & Crazy Horse off Archives, Vol. II: 1972–1976 (10) (2021) instead of crowding the next move.

After The Gold Rush (Live) by Neil Young & Crazy Horse off Archives, Vol. II: 1972–1976 (10) (2021) stays related to Airegin (From The Album Bags'Groove) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) through country/folk/rock, but changes the pocket enough to matter. Reach for it when the hour needs the human voice or acoustic grain to reset the emotional scale.

II: 1972–1976 (10) matters because it reads like part of an album world, not a detached single. II: 1972–1976 (10) (2021) pulls the room inward and lets voice, phrasing, or acoustic grain do the heavy lifting. With Neil Young & Crazy Horse, phrasing and vocal or acoustic grain do most of the emotional work, which is why the record can reset the scale of the hour. The cut lives or dies on phrasing and vocal or acoustic grain, which is why it reads as a human choice instead of wallpaper.

Listen for phrasing, breath, and the way tiny changes in delivery make the emotional pressure jump.

Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Crash And Burn by Bangles off Gold (2) (2020) a clean lane instead of boxing the handoff in.

Hearing it against Evil Empire matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Crash And Burn by Bangles off Gold (2) (2020) instead of crowding the next move.

Crash And Burn by Bangles off Gold (2) (2020) lifts the pressure after People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) without snapping the thread. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Rock And Roll Stew by Traffic off Time-Life - Sounds Of The Seventies - FM Rock II a clean lane instead of boxing the handoff in.

Hearing it against Gold (2) matters because it reads like part of an album world, not a detached single. Crash And Burn by Bangles off Gold (2) (2020) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Bangles, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Rock And Roll Stew by Traffic off Time-Life - Sounds Of The Seventies - FM Rock II instead of crowding the next move.

Rock And Roll Stew by Traffic off Time-Life - Sounds Of The Seventies - FM Rock II cools the temperature after Crash And Burn by Bangles off Gold (2) (2020) and lets the turn breathe. Reach for it when the sequence needs a record that can keep moving and still leave detail behind.

Hearing it against Time-Life - Sounds Of The Seventies - FM Rock II matters because it reads like part of an album world, not a detached single. On Time-Life - Sounds Of The Seventies - FM Rock II, it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Time-Life - Sounds Of The Seventies - FM Rock II matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room.

Reach for it when the sequence needs a record that can keep moving and still leave detail behind. It leaves Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads off Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016) a clean lane instead of boxing the handoff in.

Hearing it against Timelife - Sounds Of The Seventies - Am Pop Classics - 1993 matters because it reads like part of an album world, not a detached single. Don't Call Us We'll Call You by Sugarloaf Featuring Jerry Corbetta off Timelife - Sounds Of The Seventies - Am Pop Classics - 1993 (1993) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Timelife - Sounds Of The Seventies - Am Pop Classics - 1993 (1993), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Timelife - Sounds Of The Seventies - Am Pop Classics - 1993 matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room. Notice how it hands the weight to Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads off Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016) instead of crowding the next move.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads off Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016) stays related to Don't Call Us We'll Call You by Sugarloaf Featuring Jerry Corbetta off Timelife - Sounds Of The Seventies - Am Pop Classics - 1993 (1993) through pop / rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) a clean lane instead of boxing the handoff in.

Hearing it against Radio Waves 1978-1983: Psycho Killers, Vol. Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads off Radio Waves 1978-1983: Psycho Killers, Vol. With Talking Heads, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) instead of crowding the next move.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) stays related to Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads off Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016) through pop, rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Battle Of Mexico City matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

The sequence maintains a dusky slow-burn lane with emotional depth, honoring the request line while building a real arc. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves You by Marvin Gaye off Super Hits (1970) a clean lane instead of boxing the handoff in.

Hearing it against Evil Empire matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to You by Marvin Gaye off Super Hits (1970) instead of crowding the next move.

You by Marvin Gaye off Super Hits (1970) cools the temperature after People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) and lets the turn breathe. You by Marvin Gaye off Super Hits (1970) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves Never The Machine Forever by Soundgarden off Down On The Upside (1993) a clean lane instead of boxing the handoff in.

Hearing it against Super Hits matters because it reads like part of an album world, not a detached single. You by Marvin Gaye off Super Hits (1970) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Super Hits (1970), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Super Hits matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room. Notice how it hands the weight to Never The Machine Forever by Soundgarden off Down On The Upside (1993) instead of crowding the next move.

Never The Machine Forever by Soundgarden off Down On The Upside (1993) lifts the pressure after You by Marvin Gaye off Super Hits (1970) without snapping the thread. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against Down On The Upside matters because it reads like part of an album world, not a detached single. Never The Machine Forever by Soundgarden off Down On The Upside (1993) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Soundgarden, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the hour wants momentum with architecture, not just a louder kick drum. It leaves Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison off All Things Must Pass (1970) a clean lane instead of boxing the handoff in.

Hearing it against Discography matters because it reads like part of an album world, not a detached single. Where The Streets Have No Name (I Can't Take My Eyes Off You) by Pet Shop Boys off Discography (1991) gives the hour momentum with structure; the drive comes from the engine under the track, not empty speed. With Pet Shop Boys, the useful clue is usually in the construction: low end, drum programming, and how the groove is released layer by layer. The record sells itself through the engine underneath it: kick, bass pressure, and the little bits of motion that keep the loop from going flat.

Listen for the engine underneath the track: kick, bass, and the tiny percussion or synth shifts that keep the motion alive. Notice how it hands the weight to Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison off All Things Must Pass (1970) instead of crowding the next move.

Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison off All Things Must Pass (1970) cools the temperature after Where The Streets Have No Name (I Can't Take My Eyes Off You) by Pet Shop Boys off Discography (1991) and lets the turn breathe. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) a clean lane instead of boxing the handoff in.

Hearing it against All Things Must Pass matters because it reads like part of an album world, not a detached single. Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison off All Things Must Pass (1970) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With George Harrison, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) instead of crowding the next move.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) lifts the pressure after Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison off All Things Must Pass (1970) without snapping the thread. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Battle Of Mexico City matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Piano Sonata No.3 in F Minor Op.2 - I. Allegro con Brio by Mari Kodama off Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008) a clean lane instead of boxing the handoff in.

Hearing it against Evil Empire matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Piano Sonata No.3 in F Minor Op.2 - I. Allegro con Brio by Mari Kodama off Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008) instead of crowding the next move.

Piano Sonata No.3 in F Minor Op.2 - I. Allegro con Brio by Mari Kodama off Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008) stays related to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off Evil Empire (1996) through classical, but changes the pocket enough to matter. Reach for it when the sequence needs a record that can keep moving and still leave detail behind. It leaves Croquis Et Agaceries D'un Gros Bonhomme En Bois: Danse Maigre (À La Manière De Ces Messieurs) by Satie off Complete Piano Works, Volume 6 (1994) a clean lane instead of boxing the handoff in.

1, 2, 3 matters because it reads like part of an album world, not a detached single. Piano Sonata No.3 in F Minor Op.2 - I. 1, 2, 3 (2008), it reads as part of a larger album world instead of a stray file in the crate. Piano Sonatas Nos.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room. Notice how it hands the weight to Croquis Et Agaceries D'un Gros Bonhomme En Bois: Danse Maigre (À La Manière De Ces Messieurs) by Satie off Complete Piano Works, Volume 6 (1994) instead of crowding the next move.

Croquis Et Agaceries D'un Gros Bonhomme En Bois: Danse Maigre (À La Manière De Ces Messieurs) by Satie off Complete Piano Works, Volume 6 (1994) stays related to Piano Sonata No.3 in F Minor Op.2 - I. Allegro con Brio by Mari Kodama off Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008) through classical, but changes the pocket enough to matter. Reach for it when the sequence needs a record that can keep moving and still leave detail behind.

Hearing it against Complete Piano Works, Volume 6 matters because it reads like part of an album world, not a detached single. Croquis Et Agaceries D'un Gros Bonhomme En Bois: Danse Maigre (À La Manière De Ces Messieurs) by Satie off Complete Piano Works, Volume 6 (1994) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Complete Piano Works, Volume 6 (1994), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Complete Piano Works, Volume 6 matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room.

Reach for it when the hour wants momentum with architecture, not just a louder kick drum. It leaves People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) a clean lane instead of boxing the handoff in.

Hearing it against Homogenic matters because it reads like part of an album world, not a detached single. Pluto by Björk off Homogenic (1997) gives the hour momentum with structure; the drive comes from the engine under the track, not empty speed. With Björk, the useful clue is usually in the construction: low end, drum programming, and how the groove is released layer by layer. The record sells itself through the engine underneath it: kick, bass pressure, and the little bits of motion that keep the loop from going flat.

Listen for the engine underneath the track: kick, bass, and the tiny percussion or synth shifts that keep the motion alive. Notice how it hands the weight to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) instead of crowding the next move.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) stays related to Pluto by Björk off Homogenic (1997) through pop, rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Honey Pie by The Beatles off The Beatles (1968) a clean lane instead of boxing the handoff in.

Hearing it against The Battle Of Mexico City matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Honey Pie by The Beatles off The Beatles (1968) instead of crowding the next move.

Honey Pie by The Beatles off The Beatles (1968) stays related to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) through rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Beatles matters because it reads like part of an album world, not a detached single. Honey Pie by The Beatles off The Beatles (1968) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Beatles, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Xtal by Aphex Twin off Selected Ambient Works 85-92 (1992) opens space, decay, and atmosphere without letting the air go limp. It leaves Bombtrack (Live at First Avenue, Minneapolis, MN - April 1993) by Rage Against The Machine off Live & Rare (2022) a clean lane instead of boxing the handoff in.

Hearing it against Selected Ambient Works 85-92 matters because it reads like part of an album world, not a detached single. Xtal by Aphex Twin off Selected Ambient Works 85-92 (1992) opens space, decay, and atmosphere without letting the air go limp. On Selected Ambient Works 85-92 (1992), it reads as part of a larger album world instead of a stray file in the crate. The detail is in the air around the sound as much as in the notes themselves: sustain, echo, and how long each element hangs before the next one arrives.

Listen for the negative space: tails, echoes, and the way the sound keeps moving even when the surface feels still. Notice how it hands the weight to Bombtrack (Live at First Avenue, Minneapolis, MN - April 1993) by Rage Against The Machine off Live & Rare (2022) instead of crowding the next move.

Bombtrack (Live at First Avenue, Minneapolis, MN - April 1993) by Rage Against The Machine off Live & Rare (2022) stays related to Xtal by Aphex Twin off Selected Ambient Works 85-92 (1992) through pop, rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Requiem in D Minor, K. 626: Ii. Kyrie (Reconstruction of Requiem Performance at Mozart's Funeral, 1791) by Wolfgang Amadeus Mozart off Requiem: Reconstruction of First Performance (2014) a clean lane instead of boxing the handoff in.

Hearing it against Live & Rare matters because it reads like part of an album world, not a detached single. Bombtrack (Live at First Avenue, Minneapolis, MN - April 1993) by Rage Against The Machine off Live & Rare (2022) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Requiem in D Minor, K. 626: Ii. Kyrie (Reconstruction of Requiem Performance at Mozart's Funeral, 1791) by Wolfgang Amadeus Mozart off Requiem: Reconstruction of First Performance (2014) instead of crowding the next move.

Requiem in D Minor, K. 626: Ii. Kyrie (Reconstruction of Requiem Performance at Mozart's Funeral, 1791) by Wolfgang Amadeus Mozart off Requiem: Reconstruction of First Performance (2014) stays related to Bombtrack (Live at First Avenue, Minneapolis, MN - April 1993) by Rage Against The Machine off Live & Rare (2022) through classical, but changes the pocket enough to matter. Reach for it when the sequence needs a record that can keep moving and still leave detail behind.

Hearing it against Requiem: Reconstruction of First Performance matters because it reads like part of an album world, not a detached single. Kyrie (Reconstruction of Requiem Performance at Mozart's Funeral, 1791) by Wolfgang Amadeus Mozart off Requiem: Reconstruction of First Performance (2014) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Requiem: Reconstruction of First Performance (2014), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Requiem: Reconstruction of First Performance matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room.