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Items17
1
Wolf Like Me
The band drops from a hard-running riff into a much quieter middle. Keep listening through that stretch. The loud return works as a final cue precisely because you’ve had a little room to breathe before it.
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B.O.B. (Bombs Over Baghdad)
The fast beat is there from the start. What makes the last stretch useful is the shift from tightly packed verses to the choir and group chant, which give all that motion a new shape.
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Witchcraft
The sung opening gives you time to settle into the song before the beat comes in fast. The later lull leaves enough of the tune to keep you listening, and the return of the drums makes the final stretch feel like a new start.
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Geyser
The first keyboard notes seem to hang in the air. Then the drums and guitars come down behind Mitski’s voice, turning a held-back opening into a short, concentrated rush for the end of a session.
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Go (feat. Q-Tip)
Q-Tip pushes the verses on over a clipped bass sound. The fuller synthesizer refrain keeps returning until its rise becomes a cue of its own. Pick it when the last stretch needs a clear point to start.
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Cold War
Monáe’s vocal keeps pushing at the edges of the brisk beat. The guitar break and the vocal’s return make a short track feel like it has a finishing stretch of its own.
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BLACKOUT
A fast drum pattern and chant push the first part along, then the band changes the emphasis and makes the last section feel heavier. It’s a useful short finish when you want impact more than a steadily rising speed.
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All My Life
The clipped opening sets up the band’s first big entrance, but the more useful cue comes later. A repeated vocal phrase keeps tightening until drums and guitars throw their weight back behind it.
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Bulls on Parade
The scratching guitar break interrupts a heavy riff without letting the tempo fall away. When the riff and shouted refrain lock back together, the last part has more force than another straight run through the chorus would.
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Aerodynamic
The guitar figure sounds like a break in the dance track at first. When the pulse comes back underneath it, the two parts suddenly lock together. The closing keyboard passage gives you somewhere to ease off after that lift.
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Glue
A hazy vocal and soft chords hang over a nimble breakbeat. The fuller beat keeps coming back into focus, so you get a late lift from the rhythm while the sound above it stays gentle.
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Voodoo People (Pendulum Remix)
Pendulum lets the repeated guitar figure wind itself up, then brings in the fast rolling beat. The stop and renewed surge later on gives you another chance to time a short finishing effort to the music.
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Yeah (Crass Version)
At first the band can get a lot out of one repeated word and a bare groove. Then the synths become more abrasive and the drums keep pressing through the build. Save it for a longer finish and start it early enough to get to the change.
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Melt!
The kick and scattered high sounds build a more forceful pulse as the layers accumulate. The rise comes from details getting closer and louder around the same beat, a good lift when you don’t want a chorus or a sudden stop.
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Genesis
A broad, ominous introduction gives way to a tighter, more insistent pulse. Later the synth and bass hits feel ever more crowded around it. This fits a final stretch that needs weight without a sung hook to follow.
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DARE (feat. Shaun Ryder & Roses Gabor)
Shaun Ryder’s call and Roses Gabor’s sung lines take turns over a springy electronic beat. The little gaps keep resetting your ear for another chorus, which makes the final run of the hook an easy cue to pick up the pace.
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When a Fire Starts to Burn
The repeated spoken phrase keeps its shape while the beat builds underneath it. When the low end comes back after the arrangement thins, there’s a clear change in pressure without the pace having to change.
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