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Fading into the Next Song

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So, you have this song. It's pretty cool, but the fadeout is kind of long. What do you do? Continue the fadeout into the beginning of the next song on the album, and copy-paste the intro of the second song over the fadeout. In written music, this is referred to as a "segue," pronounced like "Seg-way" (hence the Punny Name).

This is a common practice in mix albums for "dancefloor" Electronic Music genres like House and Trance since the objective is to create a seamless experience; it is usually referred to as "crossfading", after the crossfader slider on a mixer. Live songs and medleys don't count. Concept Albums most definitely count. This refers only to when a song's fadeout spills into the beginning of the next one — sound effects, abrupt switches without gaps and other transitions don't count.


Albums that do this all the way through are known as "gapless albums". See also Siamese Twin Song.


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  • A few songs on Linkin Park's Minutes to Midnight, "Shadow of the Day" → "What I've Done", for example. "Leave Out All the Rest" seems to be an odd example, as it ends with the background noise of "Bleed it Out".
    • All the songs on Meteora, except for "Session" and "Numb".
    • Several songs in A Thousand Suns have this as their exact purpose, fitting that album's larger purpose.
    • Almost all songs on the remix album Reanimation.
  • Red Hot Chili Peppers' Blood Sugar Sex Magik is a gapless album.
  • A Perfect Circle do a similar thing with "Weak and Powerless" → "The Noose" (Thirteenth Step), as the fadeout in "Weak and Powerless" blends into the intro guitar riff for the next.
  • Inverted by The Birthday Massacre several times on their album Violet, most notably with the ending of "Play Dead", which contains the opening of "Blue".
    • Their album Walking With Strangers does this with every song.
  • Avenged Sevenfold's does this occasionally:
    • "I Won't See You Tonight Part 1" ends with a sort of radio static getting gradually louder and bleeding directly into Part 2, which starts with hellish strident harmonics.
    • On City of Evil, "Beast and the Harlot", "Burn It Down" and "Blinded in Chains" are so closely knit together you likely won't even noticed the track has changed at first. The latter two even have a nearly identical drum beat at the beginning.
    • On the Self-Titled Album, "Unbound (Wild Ride)" ends with a Heartbeat Soundtrack that continues beating into the next track "Brompton Cocktail".
    • On The Stage, "Fermi Paradox" ends with wind in the background as the guitar solo fades out, which continues into the last track "Exist".
  • Counting Crows: "Hangin' Around" segues into "Mrs. Potter's Lullaby" on This Desert Life.
  • Green Day's American Idiot has "Holiday" → "Boulevard of Broken Dreams". It also has "Are We The Waiting" → "St. Jimmy" (which they usually play as on in concert as well, unlike the other examples here), "Give Me Novocaine" → "She's A Rebel", and "Extraordinary Girl" → "Letterbomb". It is a concept album, after all.
    • Although the songs were listed separately on the original release, some versions of the album (notably on Spotify) list the above examples as single songs (i.e. "Holiday/Boulevard Of Broken Dreams", "Are We The Waiting/St Jimmy" etc.).
    • Earlier than that, on "Nimrod" was "Jinx" → "Haushinka".
    • Earlier than that, on Insomniac was "Brain Stew" → "Jaded", although they're often played together as one song.
    • Even earlier than this, "Chump" and "Longview" on Dookie were mixed together in such a fashion. The band is quite fond of this trope.
    • On 21st Century Breakdown, we have "Last of the American Girls" → "Murder City", with the beeps at the end of the first and the drums which pick up when the track officially changes to the second.
    • The background noise at the end of "Christian's Inferno" crossfades into the start of "Last Night On Earth".
      • Also the radio static at the end of 21 Guns fades into the Song Of The Century reprise that begins American Eulogy.
  • They Might Be Giants do this on their album The Spine: the applause at the end of "Au Contraire" segues into the opening of "Damn Good Times".
  • Beck: "E-Pro" → "Que Onda Guero" (Guero).
  • Starflyer 59: "Too Much Fun" → "Days of Lamech" (The Fashion Focus). "I Like Your Photographs" → "...Moves On" (Leave Here a Stranger).
  • Patrick Wolf: "Vulture" → "Blackdown" (The Bachelor).
  • The album version of Weezer's "Pink Triangle" fades right into "Falling For You" (Pinkerton).
  • No Doubt: "Sixteen" → "Sunday Morning" (Tragic Kingdom).
  • The album CHRONOS by All Heroes ends with the song "Eros" which loops back to the beginning of the first song "Aeon".
  • Radiohead:
    • OK Computer: "Airbag" → "Paranoid Android".
    • Kid A: "Kid A" → "The National Anthem" and "Idioteque" → "Morning Bell".
    • Hail to the Thief: "I Will" → "A Punchup at a Wedding".
    • COM LAG: Applause in "2 + 2 = 5 (Live at Earls Court, London, 26/11/03)" seques into amp fuzz in "Remyxomatosis".
    • The King of Limbs: "Codex" → "Give Up the Ghost".
    • A Moon Shaped Pool: "Decks Dark" → "Desert Island Disk" and "Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief" → "True Love Waits".
  • Tori Amos: "Josephine" → "Riot Poof" (on To Venus and Back's studio side, the live album being gapless) and "Give" → "Welcome to England" (on Abnormally Attracted to Sin).
  • The Gorillaz album Demon Days has several songs that bleed into the next, perhaps the most noticeable example being the laughing of the children at the end of "Dirty Harry" morphing into the mad cackle at the beginning of "Feel Good Inc."; "Don't Get Lost in Heaven" and the title track also do this quite well.
    • Plastic Beach has "Orchestral Intro" → "Welcome to the World of the Plastic Beach", "Superfast Jellyfish" → "Empire Ants", and "Cloud of Unknowing" → "Pirate Jet".
    • Ridiculously common on Plastic Beach's immediate follow-up The Fall. There are some songs that don't end this way, but they're few and far between.
    • Humanz has "Intro: I Switched My Robot Off" → "Ascension", "Interlude: The Non-Conformist Oath" → "Submission" → "Charger", "Andromeda" → "Busted and Blue", "Interlude: Talk Radio" → "Carnival", and "Interlude: The Elephant" → "Hallelujah Money".
  • Oasis's (What's the Story) Morning Glory? has "Morning Glory" → track 11 → "Champagne Supernova". The Greatest Hits Album Stop the Clocks maintains the fade, but without the untitled track.
    • On Be Here Now, "It's Gettin' Better (Man!!)" → "All Around the World (Reprise)".
  • Though the songs on My Bloody Valentine's magnum opus Loveless are largely distinct and self contained, there are few obvious song-break points.
  • Primal Scream does this on their albums Vanishing Point ("Get Duffy" → "Kowalski") and Evil Heat ("City" → "Some Velvet Morning").
  • This is a favorite trope of Peace.
  • Portishead's "Magic Doors" → "Threads" on Third.
  • ALL of And the Glass Handed Kites by Mew. Well, it's sort of a concept album, and definitely Awesome Music.
    • Almost all of it. There's a noticeable gap of silence (or at least near-silence), almost thirty seconds long, between "White Lips Kissed" and the final track "Louise Louisa". Musically, those last two songs seem to stand apart from the musical continuity of the rest of the album. They're no less awesome for it, however.
  • XTC's Skylarking does this quite often. Even when one of the songs got replaced in later editions of the album, the effect was maintained in the same part of the album: "Mermaid Smiled" had it's last note bleed into "Dying", and when that song was taken off of the album to make room for the unexpected hit "Dear God", "Dear God" was re-edited to do the same thing.
    • Also happens on other albums, such as Black Sea (notably from "Towers of London" to "Paper and Iron"), and is very prominent on English Settlement (from "No Thugs in Our House" to "Yacht Dance").
  • Muse does this twice on Origin of Symmetry, with "Hyper Music" → "Plug In Baby" (even though it's just the bass fading from one song to the next) and "Citizen Erased" → "Micro Cuts".
    • Also, on The Resistance, "United States of Eurasia (+ Collateral Damage)" → "Guiding Light" (you can hear a missile passing through during the outro of "Collateral Damage", and when it explodes, the following song starts).
    • The same technique is employed on Absolution, with "Intro" → "Apocalypse Please", "Sing for Absolution"→ "Stockholm Syndrome", and "Falling Away With You" → "Interlude" → "Hysteria".
  • Panic! at the Disco loves to do this.
  • Enter Shikari does this on both their albums.
    • In Take To The Skies, it's most noticeable with LabyrinthNo Sssweat and Enter ShikariMothership, although most of the album fades rather smoothly.
    • Common Dreads has SolidarityStep Up, ZzzonkedHavok A and Gap in the FenceHavok B.
    • Also, the last track from Take To The SkiesCommon Dreads' eponymous intro, if you were to play them in sequence.
  • U2 (on their first album Boy): "An Cat Dubh" → "Into the Heart" → "Out of Control".
  • In Foo Fighters' There Is Nothing Left to Lose, "Gimme Stitches" starts before "Learn to Fly" can end completely.
    • The Colour and the Shape: "Hey, Johnny Park!" → "My Poor Brain" → "Wind Up"
    • Wasting Light: "A Matter of Time" → "Miss the Misery" (and the kinda muted "White Limo" → "Arlandria" transition is enhanced live)
    • Sonic Highways: "Subterranean" → "I Am A River"
  • blink-182 did this on Enema of the State: "Adam's Song" → "All the Small Things"; "Aliens Exist" → "Going Away to College" → "What's My Age Again?".
    • "Asthenia" → "Always" on their self-titled album.
  • Modest Mouse opens Good News for People Who Like Bad News with "The World at Large," which fades into "Float On". This highlights the fact that "The World at Large" is essentially a somber, slower version of "Float On".
    • On We Were Dead Before the Ship Even Sank, "People as Places as People" → "Invisible".
  • Rogue Traders' Here Comes the Drums does this once or twice.
  • On Eels' Beautiful Freak, "Susan's House" → "Rags to Rags".
  • Jellyfish did so constantly on both Bellybutton and Spilt Milk. Bonus points go for abruptly segueing the heavy electric guitar feedback/distortion-ending of "All Is Forgiven" into the gently-strummed acoustic guitar intro to "Russian Hill" on ''Spilt Milk".
  • On Pop Will Eat Itself's This Is the Day...This Is the Hour...This Is This!, "PWEI Is a Four Letter Word" → "Preaching to the Perverted" → "Wise Up! Sucker" → "Sixteen Different Flavours of Hell", "Poison to the Mind" → "Def. Con. One", and "Shortwave Transmission On 'Up to the Minuteman Nine'" → "Satellite Ecstatica" → "Not Now James, We're Busy".
    • On Box Frenzy, "There Is No Love Between Us Anymore" → "She's Surreal".
    • On Cure for Sanity, "The Incredible PWEI vs. The Moral Majority" → "Dance of the Mad Bastards", "X Y & Zee" → "City Zen Radio 1990/2000 FM", and "Medicine Man Speak with Forked Tongue" → "Nightmare at 20,000 Feet".
    • On The Looks or the Lifestyle?, "Mother" → "Get the Girl! Kill the Baddies!" and "Token Drug Song" → "Karmadrome".
    • On Dos Dedos Mis Amigos, "Cape Connection" → "Menofearthereaper".
  • Evanescence utilizes this in "Tourniquet" to "Imaginary" (on Fallen), "Like You" to "Lose Control", "The Only One" to "Your Star" (on The Open Door) and "The Change" to "My Heart Is Broken" (on the self-titled album).
  • Mindless Self Indulgence's first album Tight has "Grab the Mic" → "Bring the Pain".
  • The Offspring does this on Americana with "Have You Ever" → "Staring at the Sun".
    • On Splinter, "Never Gonna Find Me" → "Lightning Rod".
    • On Days Go By, "The Future is Now" → "Secrets from the Underground" and "Dividing by Zero" → "Slim Pickens Rides the Bomb to Hell".
  • 311: "Starshines" → "Strangers" (Transistor).
  • The Dandy Warhols' Thirteen Tales From Urban Bohemia has most of its tracks seamlessly blending into each other.
  • Mae puts an interesting twist on this with The Everglow, in which the fading of nearly every song in the next fits into the whole "storybook" concept of the album. Each song corresponds to a sketch in the liner notes, which resemble a picture book made for children. An intro track explains to the listener that they should turn the page when they hear specific sounds. What follows is a brief montage of all of the track intros and/or fades between tracks all fading into each other in the order that they will be heard throughout the album.
  • On How It Feels to Be Something On by Sunny Day Real Estate, "Pillars" → "Roses in Water".
  • On Sonic Youth's Daydream Nation, "A) The Wonder)" → "B) Hyperstation".
  • Melissa Etheridge does this with "Shriner's Park" → "Change" on Your Little Secret.
  • Pepe Deluxé's album Queen of the Wave is a continuous mix, with every single song subtly (or not-so-subtly) fading into the next).
  • Red Vox: The outro of "Another Light" can be heard in the first couple of seconds of "Settle for Less".

  • Ludwig van Beethoven was a fan of this trope. Probably most famously used from the 3rd movement into the finale in his Fifth Symphony, but also used in the Emperor Concerto (from the 2nd movement to the finale), as well as in his Sixth Symphony, where he faded a scherzo into the Storm section, which then faded into the finale.
  • Certain recordings of Johann Sebastian Bach's organ toccatas and fugues or preludes and fugues are recorded in such a way that the reverb from the last note of the toccata or prelude is still sounding when the fugue is started. This sometimes results in Siamese Twin Songs.
  • The first movement of Felix Mendelssohn's violin concerto builds in energy to a grim final E minor chord, but when it evaporates, the first bassoon continues to hold its note, leading to a short transition to the second movement.
  • Dmitri Shostakovich loved the device of having movements fade into each other. Just to give two examples, in his Piano Trio No.2, the final iteration of the third movement passacaglia is just fading into silence when the piano begins softly playing a repeated octave to usher in the Jewish-influenced finale, while in his String Quartet No.9, each of the first four (of five) movements begins fading away just as fragments of the opening melody of the next movement begin appearing around it.

    Christian Rock 
  • The David Crowder Band's latest album, Church Music, is absolutely full of this.
  • Amy Grant's "A Christmas Album" has "Emmanuel", "Little Town", and "Christmas Hymn" segue together.

  • Several Shania Twain albums run their songs together, although it's most obvious on Come On Over.
  • Clint Black's "A Good Run of Bad Luck" → "State of Mind" from his 1993 album No Time to Kill.

  • Thanks to the shared drumming theme (borrowed from Cozy Powell's "Dance with the Devil"), Boney M's "Nightflight to Venus" seamlessly fades into "Rasputin" on every album they are featured in.
  • Gloria Gaynor's Never Can Say Goodbye helped to popularize this trope with the first side featuring "Honey Bee", the title track and "Reach Out (I'll Be There)" all flowing into each other.

  • Washed Out's Paracosm.
  • Justice: On Cross, "Genesis" → "Let There Be Light" → "D.A.N.C.E.", "Newjack" → "Phantom" → "Phantom Pt. II", "Valentine" → "Tthhee Ppaarrttyy" → "DVNO", and "Stress" → "Waters of Nazareth" → "One Minute to Midnight".
  • The Avalanches' Since I Left You and Wildflower are entirely gapless.
  • The Flashbulb FORCES the ending to fade into the next song frequently on Kirlian Selections and on several of his other releases.
    • Same with most of their compilations, as they're usually DJ mixes.
  • Daft Punk does this on Homework with "Daftendirekt" → "WDPK 83.7 FM" → "Revolution 909" → "Da Funk", and on Discovery with "One More Time" → "Aerodynamic" → "Digital Love".
  • None of Enigma's albums have any silence at any point.
  • On Empire of the Sun's Walking on a Dream, "Half Mast" → "We Are The People".
  • Pendulum:
    • On Hold Your Colour, "Prelude" transitions perfectly into "Slam", as the two are essentially Siamese Twin Songs.
    • They have a fair bit of this on Immersion, with "Genesis" → "Salt in the Wounds", "The Island Part 1 (Dawn)" → "The Island Part 2 (Dusk)" (for obvious reasons)... they love it.
  • OverClocked ReMix's album Super Metroid: Relics of the Chozo does this with every song on the album.
  • Most of BT's albums, except for the US edition of Movement in Still Life. On Ima, even the "Sasha's Voyage of Ima" medley does this at the end, crossfading into "Divinity". "Blue Skies (Delphinium Days Mix)", itself fading in from the main mix of the song, has a fake-out fade-in of "Embracing the Future" at the end. The iTunes version of These Hopeful Machines was initially released as two-hour long tracks titled "A Side" and "B Side".
  • Freaky Chakra's Blacklight Fantasy is a continuous mix except for the hard cut between tracks 5 and 6. The collaboration album Freaky Chakra vs. Single Cell Orchestra is also gapless. His other albums, although not totally gapless, mix certain groups of songs together, such as the epic suite "Peace Fixation → Tra Vigne → Hallucifuge" on Lowdown Motivator.
  • Cut Copy is rather fond of this trope - both In Ghost Colours and Zonoscope are nearly gapless.
  • "Kometenmelodie 1 & 2" from Kraftwerk's Autobahn. As the last note of part one is fading out, part two begins with an ear-piercing screech.
    • This appears on much of Radio-Activity, with the first side being entirely gapless. On the second side, "Radio Stars" fades into "Uranium".
    • On Trans-Europe Express, the title track fades into "Metal on Metal" (which serves as an addendum to the former), and "Franz Schubert" quite fittingly fades into the album's outro track "Endless Endless".
    • On Electric Café, "Boing Boom Tschak" → "Techno Pop".
  • Covenant's Modern Ruin is gapless, excluding the silence before the Hidden Track.
  • The Crystal Method's Drive does this through three-quarters of the album.
  • The album of the same name by Gearwhore (his only album) also did it.
  • Between Frequencies, the first of Cellsite System's two albums.
  • Vincent de Moor's Orion City is gapless for the first half.
  • Orbital has "Lush" → "Impact" → "Remind" from the Brown Album, and "Way Out" → "Spare Parts Express" → "Know Where to Run" from The Middle of Nowhere. This would carry over to live shows, where they would treat the entire song suites as single, epic songs.
  • Depeche Mode:
    • Speak & Spell: "Photographic" → "Tora! Tora! Tora!".
    • A Broken Frame: "A Photograph of You" → "Shouldn't Have Done That" → "The Sun and the Rainfall".
    • Construction Time Again: "Love, in Itself" → "More Than a Party" → "Pipeline" and "Two Minute Warning" → "Shame".
    • Black Celebration: "Black Celebration" → "Fly on the Windscreen - Final".
  • The entirety of Hybrid's I Choose Noise, and "Break My Soul" → "Numb" on Disappear Here.
  • Scuba is fond of this trope, using it extensively on his albums A Mutual Antipathy and Triangulation.
  • Autechre generally does this at least once per album, such as with "Eutow" → "C/Pach" (Tri Repetae), "Pro Radii" → "Augmatic Disport" (Untilted), and "Fol 3" → "fwzE" → "90101-5I-L" → "bnc Castl" (Quaristice).
  • The Chemical Brothers have made use of this trope more than once.
    • The first six tracks on Exit Planet Dust are entirely gapless. Also, on the same album, "Life Is Sweet" → "Playground for a Wedgeless Firm".
    • Dig Your Own Hole has "Elektrobank" → "Piku" and "It Doesn't Matter" → "Don't Stop the Rock" → "Get Up on It Like This".
    • Surrender has "Under the Influence" → "Out of Control" and "Got Glint?" → "Hey Boy Hey Girl" → "Surrender" → "Dream On".
  • Fayman & Fripp's A Temple in the Clouds segues "The Pillars of Hercules" to "The Sky Below".
  • Bentley Rhythm Ace's self-titled debut album is largely gapless.
  • The CD edition of Blue Amazon's The Javelin album is gapless, except for the US-exclusive bonus track "4 Seasons"(previously released as a non-album vinyl single). The 3-LP vinyl edition has one long track per LP side, with "No Other Love" and "Paradise Regime" as Siamese Twin Songs (opposite the CD order).
  • "Prodemium" → "Precious" and "Burned with Desire" → "Blue Fear 2003" on Armin van Buuren's 76; ditto for "Hymne" → "Sail" on his greatest hits/remix album Ten Years, and "Desiderium 207" → the title track on Mirage.
  • Front 242's Front by Front crossfades from "First In, First Out" to "Blend the Strengths" to "Headhunter 3.0". Also, on the 1992 re-release, "Work 242 (N Off is N Off)" → "Agony (Until Death)" → "Never Stop 1.1".
    • 05:22:09:12 Off is gapless all the way through.
  • Most of Project Pitchfork's albums are gapless.
  • Thievery Corporation's The Cosmic Game is a largely gapless album.
  • Afro Celt Sound System: Aside from their Siamese Twin Songs, most of the remix album Pod is dominated by the continuously-mixed five-song suite: "Further in Time" → "Full Moon, Low Tide" → "Release" → "Release It" → "Whirly 3".
  • The first five tracks of Cursor Miner's Requires Attention are a gapless suite. The songs "Minibar" and "Silicon Savage" are also contiguous, although the transition there is more abrupt.
  • Savant has done this on many of his albums, most notably, on Orakel, "How I Roll" → "Penguins", the female voice sample from the end of "Reggaetron" at the beginning of "Soap".
  • The Prodigy uses this on much of Experience.
    • On The Fat of the Land, "Funky Shit" → "Serial Thrilla" → "Mindfields" → "Narayan" → "Firestarter".
  • Both discs of The Future Sound of London's Life Forms are gapless.
  • Solarstone's Rain Stars Eternal and Touchstone albums are both gaplessly mixed.
  • Underworld: A recurring trope on their albums, as well as their live shows, for most of The '90s. Band-member Darren Emerson being a DJ no doubt helped this.
  • Information Society has a few gapless albums, such as Don't Be Afraid and Orders of Magnitude.
  • Solar Fields' Ourdom is gapless.
  • Examples from Jean-Michel Jarre:
    • "Oxygène 1" → "Oxygène 2"
    • "Equinoxe 1" → "Equinoxe 2"
    • "Equinoxe 3" → "Equinoxe 4"
    • "Equinoxe 5" through "7" are Siamese Triplets.
    • "Magnetic Fields 3" → "Magnetic Fields 4", even on The Concerts In China
    • Otherwise, he often connects pieces of music or entire record sides (Oxygène, Equinoxe, Rendez-vous, Chronologie, Oxygène 7-13, Oxygène 3) with noise or sound effects.
  • Side 2 of Yellow Magic Orchestra's self-titled album is continuously segued.
  • Empirion's Resume album is gapless except for the bonus tracks appended to the Deluxe Edition.
  • Xilent's We Are Dust is a gapless album, fitting for its storytelling aspect.

  • Juno Reactor's Beyond the Infinite is crossfaded through the first four tracks, and the last two tracks, "Rotorblade" and "Mars", are Siamese Twin Songs.
  • Jaga Jazzist: On A Livingroom Hush, nearly every single transition has subtle background sounds linking the two songs.
  • Almost every Frank Zappa album has a least one instance of this. Most prominent on We're Only in It for the Money where virtually all tracks fade into each other.
  • In clipping.'s self titled album CLPPNG, there's one of these mid'album: "Tonight" → "Dream" → "Get Up" → "Or Die".
  • Daniel Johnston's early albums like Hi, How Are You and Yip/Jump Music were recorded on cassette and tend to do this as a result.

  • Chameleon Circuit has a really weird example, as the drums and beeping SFX from the end of the heavy, sad, and more than a little creepy alt-rock track Nightmares fade into the opening of the cheerful soft-indie-rock thing Traveling Man.
  • Area11 do this with "System; Start", which ends with the drums loudly kicking in. The heavy drums then continue into the next track, "Vectors". The Youtube video for "Vectors" does this by playing the old intro for "Euphemia" at the end, just before the new version starts; on the album proper, the old intro is simply moved to the start of the next track.

  • On the Matthew Good album Hospital Music, this occurs somewhat frequently, due to his propensity for using "guerilla recording", where he records random sounds (and conversations) outside the studio and includes them as "background" between some songs. "Champions Of Nothing" fades into "A Single Explosion" this way, and "Girl Trapped Under the Front of a Firebird" leads into "I Am Not Safer Than a Bank" by way of bizarre sound samples. And on Vancouver, the opener, "Last Parade" leads into "The Boy Who Could Explode"
  • Brian Wilson's Smile is one crossfade after another - songs are bunched into a few suites.
  • Simon & Garfunkel does this all over the place on side A of their Bookends album. Bookends Theme (Instrumental) could be seen as leading into Save the Life Of My Child, which leads directly into America, which in turn leads into Overs. Then, there's the famous duo (of songs), Old Friends/Bookends, which not only lead into each other, but you'd be hard pressed not to hear them together.

    Hard Rock 
  • Scorpions "Crazy World" Album has each song segue into each other.
  • Audioslave: "Nothing Left to Say But Goodbye" → "Moth" (Revelations).
  • KISS:
    • The album Destroyer, "Detroit Rock City" ends with a car crash that transitions into "King of the Night Time World". "King of the Night Time World" begins with the very ending of the car crash, so it's odd to listen to it individually.
    • Also from the same band: "Just A Boy" → "Dark Light" on the original 1981 release of Music from "The Elder", and "Just A Boy" → "Odyssey" on the 1997 Remaster.
  • Aerosmith:
    • Get Your Wings, the screaming and cheering at the end of "Train Kept A-Rollin'" slowly turn into the wind opening of "Seasons of Wither".
    • Rocks does this a number of times as well.
    • On Pump, "Young Lust" → "F.I.N.E.*". Steven Tyler downright said there was an attempt to cut the space between songs in the album, but this is the only with a seemless transition.
  • Halestorm "The Strange Case of..." with "Mz. Hyde" leading into "I miss the Misery."

  • Arctic Monkeys: "This House Is a Circus" → "If You Were There, Beware" (Favourite Worst Nightmare).
  • The Killers do this all the time. On Sam's Town, we have "Enterlude" → "When You Were Young" → "Bling (Confession of a King)."
  • Death Cab for Cutie does this on Narrow Stairs, where "You Can Do Better Than Me" fades into "Grapevine Fires," among others across their career.
  • This happens on almost every album by The Faint, but especially Blank-Wave Arcade and Fasciinatiion.
  • "The Engine Driver" and "On the Bus Mall" by The Decemberists on their album Picaresque. They've probably got more given their love for concept albums, that example just jumps to mind.
    • Indeed. This trope features heavily throughout the band's concept album The Hazards of Love, but it also appears with "The Crane Wife 3" to "The Island" and "The Crane Wife 1 & 2" to "Sons & Daughters" (both from The Crane Wife).
  • Guided By Voices does this every once in a while. The first four songs on Motivational Jumpsuit, a few songs on Under The Bushes Under The Stars, and most of the songs on Alien Lanes do this.
  • Used a lot by Sufjan Stevens. On Enjoy Your Rabbit, there are 14 tracks, and only two or three track transitions that aren't blended together. On Illinois, the second half of the album is mashed into two pieces: "Prairie Fire that Wanders About" → "The Great Godfrey Maze" → "The Predatory Wasp of the Palisades" → "They Are Night Zombies!" → "Let's Hear that String Part Again" → "In this Temple" → "The Seer's Tower", then "The Tallest Man, the Broadest Shoulders" → "Riffs and Variations on a Single Note" → "Out of Egypt".
  • Most albums by Driftless Pony Club are like this, with only one or two gaps per album.
  • Wolf Parade's Apologies To The Queen Mary does this twice: "You Are A Runner And I Am My Father's Son" → "Modern World" and "Dear Sons And Daughters Of Hungry Ghosts" → "I'll Believe In Anything".
  • Black Kids: On the Digital Deluxe editon of Partie Traumatic, the titular track fades into the next song "Listen To Your Body Tonight".

  • A fixture of Nine Inch Nails, and particularly prominent on The Downward Spiral and The Fragile.
    • Pretty Hate Machine was originally supposed to use this technique all the way through, but the only tracks that ended up this way are "Head Like a Hole" → "Terrible Lie" and "Sanctified" → "Something I Can Never Have".
    • Some of their songs are played this way live as well, most notably "The Frail" → "The Wretched" (which mirrors the way they appear on the album) and "Pinion" or "Now I'm Nothing" → "Terrible Lie." In the shows where they played ''The Downward Spiral" in its entirety, they made sure to preserve the first beat of "Ruiner" starting during the last note of "Closer."
  • Rammstein, "Links 2 3 4" → "Sonne" and "Rein Raus" → "Adios" on Mutter.
  • Marilyn Manson's cover of "Sweet Dreams" fades into "Everlasting Cocksucker" on Smells Like Children.
  • KMFDM's Blitz does it with "Me and My Gun → Take 'Em Out". Earlier, Nihil did it between "Brute" and "Trust"; and Symbols from "Megalomaniac" to "Stray Bullet" and from "Mercy" to "Torture".
  • Skinny Puppy: "Incision → Far Too Frail" and "Manwhole → Ice Breaker" on Remission (CD reissue), "Tomorrow → Dead Doll" on Bites(again only on the reissue), and most of Too Dark Park.
  • Most of OhGr's Undeveloped album, and the entirety of Devils in My Details.

    J Pop 
  • Asian Kung-Fu Generation's World World World has "Tabidatsu Kimi e" → "Neoteny" and "World World" → "Aru Machi no Gunjou".

  • Almost every song on Judas Priest's Sad Wings Of Destiny fades into the next.
    • On Sin After Sin, "Here Come The Tears" → "Dissident Aggressor"
  • Twilightning: "Delirium Veil" → "Return to Innocence" (Delirium Veil).
  • Anthrax: "Intro to Reality" → "Belly of the Beast" (Persistence of Time).
  • Megadeth has "Dialectic Chaos" linking into "This Day We Fight!", from their 2009 album Endgame.
    • Their is also "Into the Lungs of Hell" on So Far, So Good... So What?! - the last note ends at the start of "Set The World Afire".
  • Fleshgod Apocalypse's album Agony makes heavy use of this, such examples being "The Deceit" → "The Violation" and "The Betrayal" → "The Forsaking".
  • Tiamat - almost every song on Wildhoney, which makes the album one big music piece. Also, a few on their last album Amanethes.
  • Most of Red Hot Chili Peppers' Blood Sugar Sex Magik is full of this, with the most noticeable example being "Power of Equality" → "If You Have To Ask" → "Breaking The Girl".
  • Nightwish: "Kuolema Tekee Taiteilijan" → "Higher than Hope" on Once and "The Islander" → "Last of the Wilds" on Dark Passion Play.
  • Kamelot's "Solitaire" segues directly into "Rule the World" on Ghost Opera.
  • Iron Maiden's "Satellite 15... The Final Frontier" → "El Dorado" (The Final Frontier).
  • In Lostprophets' Start Something, the "Burn Burn" track ends with the Mike Chiplin doing a jam on the drums. As the record segues into "I Don't Know", we find out that said jam is this song's base beat.
    • Most of Start Something does this. For instance, "Make a Move," the track right before "Burn Burn," ends with Mike drumming and Jamie screaming. While it's not the same beat as the actual song, it is the same tempo, and it segues nicely into "Burn Burn."
      • In turn, "Last Train Home" ends with a strings melody, which leads into and reappears in "Make a Move."
  • "Mz. Hyde" does this for "I Miss The Misery" from Halestorm's The Strange Case Of... album.
  • Slayer does this with "Alter of Sacrifice" into "Jesus Saves" (Reign in Blood), "Postmortem" into "Raining Blood" (same album) and "South of Heaven" to "Silent Scream" (South of Heaven).
  • Uffommamut's - Idolum is pretty much the ultimate example with the whole album sounding like a huge one hour song broken up into eight parts.
  • Deftones: "Risk" → "976-Evil" → "This Place is Death" on Diamond Eyes.
  • Rise Against does this a fair bit.
  • Queens of the Stone Age:
    • Rated R: "Auto Pilot" → "Better Living Through Chemistry".
    • Era Vulgaris: "Turnin' on the Screw" → "Sick, Sick, Sick", "Misfit Love" → "Battery Acid" and "Suture Up Your Future" → "River in the Road".
    • ...Like Clockwork: "I Sat by the Ocean" → "The Vampyre of Time and Memory" → "If I Had a Tail" → "My God Is the Sun" → "Kalopsia" → "Fairweather Friends" → "Smooth Sailing".
    • Villains plays with this somewhat; both "The Way You Used to Do" and "Domesticated Animals" have interludes that lead into the next track after the songs themselves have already ended.
  • Metallica has "Fight Fire With Fire" → "Ride the Lightning".
  • Overkill faded "Nice Day...For A Funeral" into "Soulitude" to close their 1991 album Horrorscope.
    • They also (sort of) did that to link "Overkill II (The Nightmare Continues)" and "Overkill III (Under The Influence)" where both songs start with the same riff but don't really match if played altogether.
  • Between the Buried and Me are quite fond of this; Colors is a completely gapless album, and so is The Parallax: Hypersleep Dialogues (bonus points for being a concept EP.)
  • This one is easy to miss but "Check My Brain" → "Last Of My Kind" from Alice in Chains.
    • Also "Nothin Song" → "Frogs"
  • Slash's "Apocalyptic Love" solo album has a few semi-examples of this. On a few of the songs, such as "Anastasia", the song ends with the drummer doing the "count-in" beats for the next song (in the case of Anastasia, the "count-in" leads into "Not For Me"). It's not as much the song, that fades into the next, but the track hasn't ended yet when the "count-in" begins, so it counts.
  • tool: "Parabol" → "Parabola" (Lateralus). Well, as long as you consider them as separate songs and not just one long song split in two...
  • Black Sabbath:
    • Black Sabbath: "Behind the Wall of Sleep" → "N.I.B." and "Sleeping Village" → "Warning"
    • Sabotage: "Hole in the Sky" → "Don't Start (Too Late)" → "Symptom of the Universe" and "Am I Going Insane (Radio)" → "The Writ"
  • Slipknot's .5: The Gray Chapter does this a lot with "The Devil In I" → "Killpop," "Goodbye" → "Nomadic," and "Be Prepared For Hell" → "The Negative One."
  • Def Leppard: On High 'N' Dry, "Bringin' On the Heartbreak" → "Switch-625".
  • Fates Warning's 1997 album A Pleasant Shade of Gray, which is one song divided into twelve parts.

    New Age 
  • Almost every song on every album of Gregorian.
  • The entirety of Christopher Tin's Calling All Dawns features this. Each song leads directly into the next (in fact, some songs abruptly start and cut off if you listen to them as standalones or out of order), and the album is meant to be listened to on loop.
  • The 1990 compilation album One World, One Voice was recorded as a round-robin between bands and soloists all over the world, and consequently consists entirely of themes that segue from one to the next for 52 minutes.

    New Wave 
  • The Cars did this on their debut album with "Moving in Stereo" and "All Mixed Up". Downloaded individually, the ending to the former is extremely abrupt.
  • "Need You Tonight" by INXS on Kick fades into "Mediate".
  • A Flock of Seagulls: "The Story of a Young Heart" → "Never Again (The Dancer)" and "Over My Head" → "Heart Of Steel" from The Story of a Young Heart.
  • Peter Schilling: "Major Tom (Coming Home)" → "Major Tom, Part 2" from Error in the System.

  • The soundtrack to Medal of Honor: Frontline crossfades several tracks: "Border Town" → "U-4902", "Kleveburg" → "Manor House Rally", "Nijmegen Bridge" → "The Rowhouses", "Emmerich Station" → "Thuringer Wald Express" → "Sturmgeist's Armored Train", and "Approaching the Tarmac" → "Clipping Their Wings".
  • The soundtrack to Metal Gear Solid 4 does this with almost every song.
  • The Sucker Punch soundtrack fades "Tomorrow Never Knows" into "Where Is My Mind?".
  • Mark Morgan's Vault Archives is continuously mixed all the way.

  • Darren Hayes' third solo album This Delicate Thing We've Made opens with this quite cleanly, from "A Fear of Falling Under" → "Who Would Have Thought?". So cleanly, in fact, that the first song ends abruptly without the second to follow it.
  • Madonna did this with Confessions on a Dancefloor, and later released a non-stop version on iTunes that ran for fifty-six minutes.
    • Prior to that, on Like a Prayer, "Dear Jessie" " → " "Oh Father".
    • Also, Bedtime Stories has "Sanctuary" " → " "Bedtime Story".
    • "Drowned World/ Substitute For Love" → "Swim" on Ray of Light.
  • Owl City did this with "January 28 1986" → "Galaxies".
  • Ashlee Simpson: "What I've Become" → "Hot Stuff" off Bittersweet World.
  • JoJo on "Coming for You" into "Let It Rain" through mutual rain sounds, on her second album The High Road.
  • Marianas Trench's third album Ever After was designed such that all the songs transition seamlessly into the next.
  • On Suzie McNeil's Dear Love, the music for "Here Comes The Rain Again" starts playing at the end of the previous "Interlude" track.
  • Geri Halliwell: "Let Me Love You" → "Someone's Watching Over Me" (Schizophonic)
  • On Björk's Post, "Army of Me" → "Hyperballad"; on Homogenic, "Unravel" → "Bachelorette".
    • Earlier than that, on Debut, "There's More to Life Than This" → "Like Someone In Love".
  • George Michael: "Father Figure" → "I Want Your Sex (Parts 1 & 2)" (Faith).
  • Billie Eilish: "bury a friend" → "ilomilo" (WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?)note 

    Prog Rock 
  • Metropolis Pt. 2: Scenes from a Memory by Dream Theater, being a Rock Opera, is gapless aside from scenes 5 and 6, which is a transition between acts.
    • The second disc of Six Degrees of Inner Turbulence, being one 42-minute song divided into eight tracks, also does this. In general Dream Theater does this a lot, even between albums. The first disc of Six Degrees begins with the static from the end of Scenes from a Memory and Train of Thought begins with a fade in from the end of Six Degrees.
      • ...then Octavarium begins with a fade-in from Train of Thought and ends fading into itself
  • Rush: "Caravan" → "BU2B" (Clockwork Angels)
  • A staple technique of Pink Floyd, with nearly every album having at least one example. It's particularly prominent on The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall, all of which have the majority of their transitions in this style. Exceptions include most of the breaks marking the ends of album sides in the vinyl era, but not all; CD editions of Dark Side have a small crossfade from "The Great Gig in the Sky" to "Money", and The Wall has a crossfade from the last song ("Outside The Wall") and the first song ("In the Flesh?").
    • There are only two distinct tracks on DSOTM: Side A and Side B.
    • Unusually for a Greatest Hits Album, Echoes: The Best Of Pink Floyd does this on every song in an attempt to make it feel a bit less like a compilation.
  • The Protomen's first album, between Will of One and Vengeance.
    • They do it a few times on their second album Act II: The Father of Death, as well with "Father of Death" → "The Hounds". Additionally, the entire second half of the album (starting with "How the World Fell Under Darkness") is this way.
  • The Mars Volta does this throughout all of Octahedron.
    • All of their albums except Tremulant use this between at least some tracks, really.
  • On The Alan Parsons Project's Eye in the Sky, "Sirius" fades into the title track (these two were performed in concert together as well).
    • On Pyramid, "Voyager" → "What Goes Up..." → "The Eagle Will Rise Again".
  • Jeff Beck's Blow by Blow does this multiple times, notably from "Air Blower" → "Scatterbrain", but it happens all the way through for both sides of the record.
  • Mike Oldfield, creator of Tubular Bells and other very long instrumental pieces, carried his penchant for long compositions over to his poppier, more commercial records, particularly Platinum and Discovery. From Tubular Bells II on, instead of writing very long tracks, he splits his albums in several tracks that run together. On Tubular Bells 2003, a re-recording of the 1973 album, he split the album into 17 tracks, which compose two pieces of uninterrupted music, just like the original.
  • Most of the songs on Sound Horizon's Moira flow into the next. This is largely because the album is, according to Revo, one extremely long song that was broken up for the sake of clarity.
  • Electric Light Orchestra loved this trope.
    • Eldorado is practically a gapless album, except for the break between "Poor Boy" and "Mister Kingdom", a relic of its origins as a vinyl record.
    • Both sides of Time on vinyl opened with three consecutive songs each fading into the next: "Prologue" → "Twilight" → "Yours Truly, 2095" on side A, and "Rain is Falling" → "From the End of the World" → "The Lights Go Down" on side B.
  • On Meat Loaf's Bat Out of Hell III: The Monster is Loose, "In the Land of the Pig, The Butcher is King" → "Monstro" → "Alive".
  • A lot of Soft Machine's albums do this, especially during the post-Robert Wyatt period. The songs would often be played without breaks on stage as well.
  • Barclay James Harvest: "Poor Boy Blues", "Mill Boys", and "For No One". The first two flow together so seamlessly that they could be considered two parts of a single song.
  • King Crimson has "I Talk To The Wind" → "Epitaph".
  • Umphrey's Mcgee with their second album "Local Band Does O.K.", with "Blue Echo" → "The Empire State", "Prowler" → "2nd Self", and "Water" → "Nothing Too Fancy".
  • U.K. has "In The Dead of Night" → "By The Light of Day" → "Presto Vivace and Reprise". These three crossfaded songs make up the entirety of the "In The Dead of Night" suite.

  • Nightmare: "雪葬" ("Yukisou") → "Mahora" (Anima).
  • Crass loved this trope, plain and simple. On their first album The Feeding of the 5,000, you have "End Result" → "They've Got a Bomb" → "Punk is Dead", "Banned From the Roxy" → "G's Song", "Women" → "Securicor", and "You Pay" → "Angels".


  • Eminem's album Recovery is entirely gapless, and it's not even a concept album; "Cold Wind Blows" → "Talking 2 Myself" → "On Fire" → "Won't Back Down" and so on.
    • Earlier on, "Remember Me" and "I'm Back" from The Marshall Mathers LP.
  • The Roots' album Phrenology has this throughout the entire album, notably with the 20-second hardcore punk track "!!!!" → "Sacrifice" with Nelly Furtado and "Thought @ Work" → "The Seed (2.0)" with Cody Chestnutt.
    • NEW ORLEANS flows perfectly into THUG LIFE so well that one may not be able to tell they are separate songs on their first listen to iridescence.
  • Kanye West:

  • King Gizzard and the Lizard Wizard uses this a lot.
    • There are a lot of examples, but an honorable mention to Nonagon Infinity, which is designed to be an infinitely looping album with no clear beginning or end.
  • Chicago's Chicago 16 and Greatest Hits 1982-89 feature "Hard to Say I'm Sorry" which segues right into "Get Away".
  • Led Zeppelin does this on Led Zeppelin with "Your Time Is Gonna Come" → "Black Mountain Side".
  • The Rolling Stones: "Ventilator Blues" → "I Just Want to See His Face" on Exile on Main St..
    • Similarly, "She's a Rainbow" → "The Lantern" on Their Satanic Majesties Request.
    • In at least the latest CD edition of Bridges to Babylon, "Out of Control" → "Saint of Me". It's especially noteworthy because in the cassette and vinyl editions those two songs were separated by a side break.
  • The Beatles have "Sgt. Pepper's Lonely Hearts Club Band" → "With a Little Help from My Friends".]] Then the "Sgt. Pepper" reprise → "A Day in the Life".
    • "Back in the U.S.S.R." → "Dear Prudence" on The White Album.
    • A few songs on Abbey Road fit into this. The best example would be "You Never Give Me Your Money" into "Sun King". However, none of the rest of the "Abbey Road medley" songs actually qualify, as they are all hard edits of songs recorded in a single pass.
  • David Bowie's Diamond Dogs has three tracks seguing one into the next and essentially (and intentionally) making one long song: "Sweet Thing" → "Candidate" → "Sweet Thing (Reprise)".
  • Queen did this on several albums. Queen II and A Night at the Opera feature a longer, heavier song fading into a softer piano ballad ("The Fairy-Feller's Master Stroke" → "Nevermore" on the former and "The Prophet's Song" → "Love Of My Life" on the latter). Sheer Heart Attack had "Tenement Funster" → "Flick of the Wrist" → "Lily of the Valley", all three of which were subsequently covered as a single song by Dream Theater.
    • A literal inversion occurs in A Day at the Races where the coda of "Teo Torriatte", the last song on the album, "fades into" the intro of "Tie Your Mother Down", the first song on the album.
    • On Made in Heaven, "It's a Beautiful Day" → "Made in Heaven" and "A Winter's Tale" → "It's a Beautiful Day (Reprise)" → "Yeah" → the untitled 23-minute thirteenth track.
      • The three band members with solo albums have each done this: Freddie Mercury, on Barcelona, his duet album with opera diva Montserrat Caballe, ("Guide Me Home" → "How Can I Go On"). Roger Taylor, on his album Fun In Space ("Interlude At Constantinople" → "Airheads"). Brian May, on his albums Back To The Light ("Love Token" → "Resurrection" → "Too Much Love Will Kill You") and Another World ("Space" → "Business"). Taylor's side project band The Cross did it, as well, on the album Blue Rock ("Dirty Mind" → "New Dark Ages" and "Millionaire" → "Put It All Down To Love"). It's not a stretch to say Queen likes this trope, even using it on the 2008 {{Queen + Paul Rodgers}} album ''The Cosmos Rocks" ("Surf's Up, School's Out" → "Small [Reprise]").
  • Alter Bridge does this on Blackbird with "Come to Life" → "Brand New Start"
  • Stone Sour opens Part 1 of "House of Gold and Bones" with "Gone Sovereign" → "Absolute Zero".
  • On Captain Beefheart's Strictly Personal, "On Tomorrow" → "Beatle Bones 'n' Smokin' Stones".
  • Evermore's Truth of the World: Welcome to the Show is a concept album, and so does this very often.
  • Boston does this sometimes, notably on their A-sides. On Don't Look Back, the title track is connected to the third song "It's Easy" by the musical bridge "The Journey", which seems to be present for this exact reason. Similarly, on Third Stage, "We're Ready" → "The Launch" → "Cool the Engines". "Don't Look Back" is generally played at the end of a set when it's played on the radio, so the DJ can cut it off before it fades into "The Journey". "Cool the Engines", on the other hand, is typically played with the Greatest Hits track version, which tries, but only partially succeeds, to make it sound like a stand-alone song.
  • Hawkwind does this a lot.
  • The early Moody Blues albums all do this; the only gaps are between the first and second sides.
  • The Byrds: "Draft Morning" → "Wasn't Born To Follow" → "Get To You".
  • Vanilla Fudge with "Some Velvet Morning" → "Where Is Happiness".
  • The second half of It's a Beautiful Day's self titled debut: "Bombay Calling" → "Bulgaria" → "Time Is".
  • The Who:
    • They started using this on The Who Sell Out, where various radio snippets would link the songs together. The rock operas Tommy and Quadrophenia would continue this trend.
    • Not just limited to the rock opera albums either; on Who's Next, "Love Ain't for Keeping" → "My Wife".
  • Commonly done by Alice Cooper:
    • "Second Coming" → "The Ballad of Dwight Fry" → "Sun Arise"
    • "Dead Babies" → "Killer"
    • "Alma Mater" → "Grand Finale"
    • "Generation Landslide" → "Sick Things" → "Mary Ann"
    • "Devil's Food" → "Black Widow"
    • "Years Ago" → "Steven" → "The Awakening"
    • "Dangerous Tonight" → "Might as Well Be on Mars"
    • "Why Trust You" → "Only My Heart Talking"
  • Elton John has "Funeral for a Friend" → "Love Lies Bleeding" on Goodbye Yellow Brick Road. They are the same track, but still listed as two different songs.
  • Unusually for a Greatest Hits Album, a few of the songs on Let It Roll: The Best of George Harrison do this.

  • In La Bohème, just as the orchestral playout of Musetta's waltz has faded to quasi niente, the offstage fife, drum and bugle corps begins playing (twice as fast and in a completely different key) the marching tune that repeats throughout the rest of the act.
  • Miss Saigon. The final notes of "Last Night of the World" segue into the opening notes of "The Morning of the Dragon".
  • In Hamilton, "Aaron Burr, Sir" immediately segues into "My Shot".
  • Aida: "Every Story Is a Love Story" turns into "Fortune Favors the Brave". On the original cast recording, one can even hear Amneris singing the final note of the first song as the second one begins.

  • On Josh Groban's Awake, he sings "Lullaby" and "Weeping" with Ladysmith Black Mambazo, the former fading into the latter.

    World Music 
  • Fairly common with World Music, as most music is traditional and there often played in open air, without concerns about time limits. CD versions are often forced to trim the music somewhat and try to fit it into a tracklist, but in reality most traditional music can just play one for a very long time, without easy distinction between one song/composition or another.
  • Brian Jones Presents the Pipes of Pan at Jajouka, by the Moroccan folk group Master Musicians of Jajouka and as compiled by Brian Jones, plays out as one long epic performance (but was shortened somewhat because in Real Life the actual length of these chants can stretch out to several hours).


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