Quick hits: 1) Thank you for keeping an ear on the Brainfeeder camp this quarter. I really like that Jameszoo track. It seems to be a logical answer to the question: "What's next?" 2) I've been meaning to check out that WAYFARING STRANGERS comp; the Cowell track is exactly what I was hoping for in it. I really hope that Fleet Foxes goes in this direction in their post-hiatus music. 3) I can't hang with Weaver, but I am intrigued. I want to hear his other stuff because I'm not put off by his style; I'm put off by his writing.

"No Woman" is one of the standouts of your mix, for me. I had heard it when you originally posted it to Cymbal, but I was doing something too consuming for me to do it justice. Then I saw it posted elsewhere with the Smith Westerns and UMO connections, which prompted me to give it a closer listen and, subsequently, to appreciate its melancholic groove. A UMO remix could be a possibility! It's definitely a perfect back-to-back with "Ride," which is turning out to be a top-10 of 2016-level favorite. What do you think of TVZ's troubadour zen poetry? During my shallow-end wade into his music last year, I found that I loved particular lines or verses, but the whole sense of his songs sometimes paled in comparison to those highlights. "To Live is to Fly" is a perfect example of this effect. "We all've got holes to fill / them holes are all that's real" is so philosophically poetic on its on, and within the context of a song that refers to many "surface" images: the rain drops on the conga drum, the woman who's as soft as glass, and the world to lie upon. This motif is so intriguing to me, so full of meaning when considered along with the "Where you been is good and gone / all you keep is the getting there" theme of song. However, if we are surfaces, pocked with holes, simultaneously grounded and going somewhere (like a road), what sense does it make to be told to fly?

The craziest thing about that Feelies track is that it totally changed my understanding of the band. Have you gone back to listen to any of either of the two LPs since hearing this? I'm listening now to THE GOOD EARTH and it's hitting the spot! I haven't given them a good listen in about six or seven years, and whatever's changed about me/my taste has made the genius more obvious. Wow. With regard to the Emotional Muggers, that KEXP performance is one of the most exciting performances I've seen in a while! What was the last concept rock that you've gotten into? Lastly: Check out the New Orleans Pelicans alternate king baby mascot.

"Muscles" is a perfect 45-33 jam. Big-time artist recording quality sounds good slowed down -- there's so much separation in the mix. The snaps, especially!

Man, you have me pegged with that analysis of my Younge pick. Really sorry about snagging a couple of your faves. I stayed hands off on the Cohen, at least. I'm surprised you liked "Candy Sam" and the whole concept, actually. I was sort of nervous about your reaction to that one.

I mentioned this to you via text, but I'll post it again, here: you nabbed a couple of songs from my mix! Namely, "Candy Sam" and "Ride". "Ride" is my second-favorite track on the Lionlimb album, with its affecting lyrics and Lee Hazlewood acoustic strum in the background. It's probably one of the two songs on the album (along with "Wide Bed") that surprised me stylistically. Also, I haven't listened repeatedly to the Ty Segall album, but "Candy Sam" is the track that I've had in my rotation in the last month or so. I love this Emotional Muggers sound and the old baby concept. Initially, I was kind of surprised by your pick from the Younge album, thinking that you'd throw a bone to your Stereolab fandom by picking a Laetitia Sadier song, but this makes sense as it harkens back to your Kamasi Washington track on one of your mixes from last year. I'm a fan of "Magic Music" on that album, as parts of it sound like what I would bang out with the drum sounds on the old Yamaha keyboard in high school... with Raphael Saadiq singing on top of it.