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Why Music Producers Can’t Finish Songs (And How to Escape It)

March 11, 2026/in Blog/by pheek

If you spend time in music production communities, you’ll notice a recurring frustration: many producers feel like they can’t finish songs. Hard drives fill up with loops, sketches, and promising ideas that never quite make it to the finish line. Starting music is exciting. A new sound, a groove, or a melody can spark hours of exploration. But somewhere between the first idea and the final arrangement, momentum fades, and the project quietly joins the pile of unfinished tracks.

This isn’t a rare problem—it’s almost a rite of passage for producers. Modern tools make it incredibly easy to generate ideas quickly, but finishing music requires a different set of skills. It asks for decisions, structure, and sometimes the willingness to move forward even when the track feels imperfect.

Many people assume that when they can’t finish songs, it means they lack discipline or talent. In reality, the issue is often more subtle. It usually comes down to how the creative process is organized. Understanding why producers get stuck is the first step toward building a workflow that lets ideas evolve into complete tracks rather than remain unfinished loops.

The Burden of Unfinished Tracks

If making songs is your primary activity in music production, being stuck and unable to finish them will feel like failure. The various factors that can make it difficult to finish a song can stem from a lack of knowledge, a flawed or obsolete workflow, non-constructive feedback, or simply the absence of a self-validation process. But since most producers are alone, it’s hard to point out what you don’t know.

Since I work and help many producers, what I often see in them:

Almost every producer has a folder of unfinished projects. But worse is when they have only a handful, which they drive themselves crazy by trying to finish.
Finishing music is harder than starting. They either bring all their music to 75% done and leave it there, unable to notice the progress.
Inspiration is exciting, but finishing requires decision-making. Most of them suffer from decision fatigue.

The first thing I teach people about finishing music is reframing their perception of what a song is, what their ideals are, and how to let go of unproductive perceptions they hold on to.

Starting a track is exploration that should be daily. Finishing it is contextual. No context defined, then it’s hard to cross a finish line.

Imagine you’re going to run a marathon, but don’t know the length of the race, and there is no indication of where you need to go. You’d get lost easily, which will make the run longer than initially planned. You’d think, “Why would anyone sign up for a marathon like that?” I wonder the same about producers who take on music-making with no planning.

Somehow, many producers not only want to learn it all on their own, but also expect professional results without any help. Being unable to finish songs is a symptom that your workflow is flawed or obsolete.

Why Producers Can’t Finish Songs

Why Producers Get Stuck

There are multiple reasons one may feel stuck and unable to finish tracks. On one side, it might be related to your personality, with certain traits that make it harder, which are intrinsic factors. On the other side, it can be external and technical. Let’s see the most common.

Perfectionism

You probably saw this one coming and recognized yourself. Or perhaps you’re not that type, but under certain conditions, that part comes up and messes everything up. But I have good news here, though. Most of the people who can’t finish songs compare themselves… to nothing (!). They build a song with an imaginary ideal in mind, which can never be met, because it doesn’t exist.

If you want to paint a portrait of your mom, it will be easier if you use a picture. If you want to make a song with a certain aesthetic, you’ll need a reference to compare yourself to. Don’t come up with the excuse that you’ll feel like it’s copying, because whatever song you’re working on is already a copy of something else already existing.

Using and studying references is how you learn a song’s architecture. It’s developing your self-expression and building a vocabulary. Learning a new language without a dictionary or a tutor is rough, but you’ll need role models as inspiration for how you want to express your ideas.

Listeners need and love familiarity in music. It feels like home and is reassuring.

Perfectionism often comes up when you don’t have a model or if your aspirations are non-measurable.

Too Many Possibilities

Working without a reference or a precise goal will leave you with unlimited options, especially in electronic music, where you can basically have access to all the potential sounds with Splice, as well as presets, across so many different genres. How does one know where to start?

No one will know except you until you pick a path and a goal you don’t have to fully meet. But having orientation helps. Picking a song, genre, or aesthetic will already filter out distractions. Self-imposed limitations are not only crucial at the beginning, but also at the end of the process of making a song.

What make someone freeze on how to finish something, is often the thought that they might take the wrong the decision and ruin the song.

There is no such thing as a failed opportunity because you can always come back later to do a new version. The song can only be what you are as a producer at the moment of finishing it. The more you finish songs, the better you will be at it.

Lack of Structure

One of the hidden aspects of music production that people don’t talk about enough is the workflow. This is something you can learn from an experienced producer, but you need to adjust it to who you are, how you work, and how it fits your life. A music-making workflow helps a lot with finishing songs. Mostly like how you can learn the workflow of building a house, cooking or anything that uses a precise how-to.

The worst workflow is the one that doesn’t deliver results you enjoy, and yet, you continue using it.

But the question I often get is, is there a workflow that fits everyone? The answer is no, and quite often, when stuck and while you can’t finish songs, it’s not the time to learn one. That is something you want to learn from the start. But once you organize yourself, going back to all those unfinished songs will feel exciting rather than discouraging.

Loss of Excitement

The hook phase is exciting, but the arrangement feels like work. Everyone has a phase that feels easier than others. But since you have explored more of the beginning than the end, your skill of starting a song is stronger. It is why it feels easy, fun and exciting. By the end of the process, you’ll have heard the song so many times that you’ll be tired of it. Not only have you lost your judgment on the potential of the initial idea, but you might actually alter it in a way where you’ll lose the spontaneity you had.

The hedonic effect, or how your brain adapts to situations and contexts, will dull out anything that was exciting at first. It’s how the brain is wired, and there’s not much you can do about it. Again, a solid workflow explores how to navigate that aspect of your brain.

The Psychological Trap

Speaking of the Hedonic factor, let’s also point out some elements that disrupt our creative flow in ways you can prevent.

The brain loves:

Novelty. This can be felt when you go to the studio: you are not sure what will happen, and discovering something new might feel like you found a gold nugget. The drawback is that if a session wasn’t very productive, if you didn’t meet your goals, or if you felt like you fell short of getting something new into your creative flow, you might develop procrastination and jump into the work to do. This leads to a situation where you can’t finish songs.
Discovery. One reason people want to learn how to make music on their own is the pleasure of learning something that brings… novelty. The brain loves the two, paired, because they feed into one another. One thing I often see in students is that they let themselves get distracted from what needs to be done because they feel they need to discover a new option, when they could wrap an idea using what they already know. The brain is seeking a dopamine hit, finding known techniques boring.
Experimentation. Same as above, but more hands-on. See it as someone who could finish a song, but instead turns on a synth and starts playing with it to find something.

But finishing requires:

Repetition. That’s no secret here. If you want to be good at something, you need to practice and repeat the same actions, many, many times. It gets tiring, and what initially looked cool and exciting can quickly become pointless because you repeat the same thing over and over. This goes the opposite way as everything mentioned the brain loves.
Refining. When you repeat something multiple times, you expose yourself to a wide palette of results, which will make you go granular about what the standards of beauty and ugliness are. Your own concept of a finished song might completely shift, redefining your goals, altering how you work, and this is where you will eventually be able to develop your own sound signature.
Constraint. As mentioned above, self-imposed limitations are the key to trimming down your goals to something you can reach. The temptation to have your song be more of this, more of that, might come up, leading you to feeling its not enough. If you work with constraints and are able to let go, then you will have set a finished idea.

So many producers stay in idea mode because it’s more stimulating. In that phase, you’re in the anything-is-possible state of mind, but nothing is done. It’s exciting to be imagining what your song could be, but you’re not practicing.

Practical Ways to Escape the Trap

Knowing the cause of these challenges is one thing, but what are the ways to step out of the problematic pattern where you can’t finish songs?

1. Separate exploration from finishing / Plan your sessions
I love to plan my sessions ahead of time. Many people love to go with the flow, but while this can work most of the time, it can also backfire, leaving nothing specific done. Not only do I like to plan which songs or albums I will be working on for a specific session, but I also like to organize my time. Most of my studio sessions include some exploration to stimulate my creativity, followed by more work-oriented tasks to get stuff done. This is something I cover in my Patreon program, where I coach people.

2. Limit your decisions
Use templates and references; write down goals and the definition of done. Set goals in advance and set the intention of a song right from the beginning, so you don’t drift in your workflow. If you feel like changing your song inside and out, save it under a different project name and consider it a different song.

I enjoy the rule of 3 (or 5) where I’ll open a project, do a maximum of 3 actions, then close it. This forces you to commit to the essential.

3. Build mockups
Create a rough version quickly before refining. It also helps you see, in context, what the song could potentially be.

4. Accept imperfect tracks

Finished music teaches more than perfect loops. It often takes me 20 songs to find 2-3 that I really love. This means I start songs every day and often wrap a few as well. Working on a large quantity of songs at once breaks the insecurity of failing and teaches your brain that the next one is coming, so if you fail, it’s not that big of a deal. This is the best way to move forward.

Perfection doesn’t exists. Some of my most successful songs felt completely flawed at the moment of letting them go. The listener doesn’t share your sense of perception or your expectations.

The Real Secret

Finishing tracks is not about motivation — it’s about workflow design. It’s also about leaving a mark in time. Finishing them is the only way to leave a piece of yourself for the future to revise. Each time you finish a song, you have the opportunity to reinvent yourself. It’s also contextual: Is the song for an album? And EP? For a specific label?

No context, no destination.

Consider this:

The producers who finish music are not necessarily more inspired.
They simply have a process that carries them past the moment where inspiration fades.

Sudden Aversion Towards Your Music

May 14, 2025/in Blog/by pheek

Let’s go through a complex topic that hits pretty much any musician at one point, which is when they suddenly develop a total dislike towards their music. This commonly happens towards music that people usually work on, but it could also happen with music they released (made) in the past. In both cases, this is caused by the same few points that I will discuss in this article and propose some solutions to ease the tension this can cause.

Is aversion towards your music a writer’s block?

Not exactly, but they’re often connected.

Writer’s block typically refers to the inability to create, while aversion to your music is more about losing connection or affection for something already made. One can trigger the other, but they’re not the same beast.

What Is Writer’s Block?

Writer’s block is the psychological state in which a creator—a writer, musician, or artist—cannot start or continue creative work despite wanting to. It’s not a lack of ideas per se but a disconnect between intention and execution.

Common definitions include:

The mental state of being creatively paralyzed.
A psychological inhibition prevents the production of new work.
A cognitive or emotional barrier that disrupts the flow of ideas.

How They’re Related

Aversion → Writer’s Block
When you lose faith in your current music, it can lead to avoidance. You hesitate to open your DAW, fearing that anything new will be “just as bad.”
Writer’s Block → Aversion
When you’re blocked and nothing sounds good, your existing tracks can start to feel like reminders of failure, creating a feedback loop of negativity.
Common Root: Self-Judgment
Both often come from internal criticism, fear of imperfection, or loss of creative play. You’re evaluating instead of exploring.

Let’s break it down.

The Brain Is Wired for Novelty

When you first start a track, your brain is stimulated by newness. Sounds feel fresh, and ideas flow. But repeated exposure leads to desensitization—you stop hearing the magic. This is known as hedonic adaptation: what once felt exciting now feels bland simply because it’s no longer new. When I make music, I’m always looking for new ideas and by searching through loops, samples and jamming, I will encounter multiple sounds that make me think I want to make a song with it. I’ve come to understand that with time, my music production comes in phases and that I would rather slow down the process by isolating each phase, where I work on one task at a time.

If you’re a regular reader of this blog, you know that one of my focuses on production aims to make sure artists break the emotional entanglement towards their art and be more neutral towards how the songs are. The issue with emotional attachment comes with these thoughts:

“This is the song that will make me known.” Giving the song importance, purpose and a destiny before it is done.
Having a strong first impression of the song. If the artist always develops a music appreciation that they easily like and understand, it will make them more prone to simple ideas. The issue with these is that you might get fed up with them faster.

A lot of successful electronic music is also quite simple. Simplicity is an art, often accomplished in grace/flow. It was created quickly, and it worked. The issue with these songs is that you can’t go over the details over and over to fix things, as this will ruin the initial spontaneous effort.

This is when I also share a mode with producers who have mastered that way of working, which I call a Spike, inspired by the Agile System.

If working in non-linear mode makes you move through phases, taking breaks between songs and starting a new one to the point where you forget about the previous songs you made, a Spike is more about finding an idea and then quickly shifting it in a mockup, acting as fast as you can. Working fast and putting all doubts, while not aiming for perfection, is another way to counter the novelty envy and bottling down your ideas to move on. Usually, the main challenges people have when they’re doing a spike are:

Having an idea but not knowing what is missing.
Feeling limited by the sounds selected.
I didn’t know how to arrange the idea into a song.

These challenges usually stall you in the loop stage, where you play ad nauseum the hook you found and end up overexposing yourself to your sounds. This will likely tire you out, while your song has nothing wrong. When you work in Spike mode, you trust the process of having some adjustments later, and you focus on what you can do with what you have. This is also called working in layers, as you put down your main layers and have the option of adding what can emerge in a future session.

Focus: Taking distance from your ideas will be the right judge of their true potential.

New tastes, New influences

I think it’s in any musician’s best interest to appreciate multiple genres. One can’t bring anything new to a genre if they’re not getting inspiration from elsewhere. Imagine you grow up in the countryside and are only exposed to country bluegrass music; it might take a huge opening of your mind to discover new things, and once you do, you might have problems identifying social cues. What I mean by social cues are the ability to pinpoint what works in a song or what will please an audience. Label owners, for instance, have this internal radar for musical social cues because they’re in tune with the market, their audience and perceive the ups and downs of the label’s releases.

Being open to various music genres creates a general understanding of these cues, or the common patterns used within and across multiple genres. This is how the guys behind the Maurizio project translated the essence of Dub into making a new genre named Dub Techno in the early 90s. It was audacious, and it worked flawlessly. Honourable mentions were made to The Orb, who combined multiple genres, influences, and ideas in the same way, creating a genre that has taken over chill-out rooms.

The downside of venturing into different aesthetics or falling in love with a specific kind of track that one wants to emulate, you might have a hard time achieving it, which results into 2 issues:

Achieving the tasks halfway, creating something that is not you, with a technical level that fails to meet the reference. The results will be easy to dislike.
Creating a writer’s block where one doesn’t know the nature of the sounds, freezing in front of how to start.

In the face of new directions and challenges, you have more chances to dislike the music you make. This is common with newcomers to music making, especially people who have been DJs. They’ll know what quality music is and will be impatient with their own development.

In the spirit of using my non-linear approach, I always recommend consolidating your skills slowly and moving on. If you overtake a task that implies no use of the skills you have and requires a new definition of how you work, it will be harsh. I would encourage you to always start with a basis of what you know how to do and build on that, as a solid basis. This will ensure that you have one part of your exploration with elements you love and make room for new ideas that are in progress. Again, this is one reason I encourage using premade samples and loops. It’s to ensure that whatever you do has this basis of certainty, where you can add uncertainty.

Perfectionism Creeps In

As the track evolves, so do your expectations. You start comparing it to your favourite artists or your past work. The “inspired you” made the track; the “critical you” now evaluates it. And that inner critic is never easy to please. That good old internal critic is always trying to save your honour by finding all the faults, missing out on some essential points:

The typical listener to your music will listen to it 1-2 times, not finding the issues you’re hunting.
Imperfections are not what the listener pays attention to.
Some issues, if minor, might be interpreted as an artistic intention/decision.
Nothing is perfect, no matter how much you search for.

Perfectionism is something I could write an entire post about. It is an issue in many spheres of our lives and can cause mental health issues if not addressed. Some use the term OCD lightly, but that is a serious illness that requires intervention from a healthcare provider. The only thing one can do to address if it stops you from doing what you’re supposed to do is to go through the points I shared and perhaps print them, post them on your desk.

One advantage I shared earlier about working in layers or doing a spike is that you force yourself to be in the writer’s position and then you can revise later.

Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art. (Andy Warhol)

While you can’t reach perfection, that doesn’t mean you overlook issues. You can fix the obvious and let go of arbitrary things.

Tip: Separate creation from evaluation. Don’t mix these phases. Write first. Judge later. (analogy: right/left brain)

Emotional Projection

Sometimes, it’s not even about the music. You might associate the track with your mood during its creation—frustration, stress, loneliness. When you revisit it, you unconsciously relive that emotional state. This is the same for anyone you ask for feedback about your music; they might not be in the right state of mind to provide proper feedback. A critical point about putting an idea quickly in song form is to capture the intention and mood you had at the very moment of creating the song. While it’s important to take distance to judge the potential of the song, sometimes you won’t be able to jump back into the project because your emotional state has completely shifted from where you were. Making music under any influence can cause this issue, where you’ll feel a disconnection between where you were when you made the song and where you are when sober. It’s not always making sense.

I like to say that I see my songs as a statement or a Polaroid snapshot of where I was at a specific moment in my life:

My tastes.
My mood.
My influences.
My skills.
A current finding.

Once I adopted this way of relating to my music, I tend to be less interested in changing anything since I make a lot of music. Compare it to posting pictures on Instagram, for instance. Imagine you want to constantly retouch past pictures you posted by removing a tree in the background or changing the colour of your t-shirt. Would that alter the intention and context of the moment you captured? How important would it be?

If you can take that approach to your music, you’ll feel more at peace with whatever you create and see it as a milestone, with its flaws, innocence, and soul.

Tip: Change your environment when working. Pair each track with a fresh mindset and clear intention.

Your Skills Evolve

You might dislike your track because you’ve improved. What sounded “good enough” two weeks ago now feels amateurish because your standards have moved up. That’s a good sign. I don’t like to finish my tracks, which always surprises people. My goal is always to aim for a level of completion of 90%. I like to finish my songs when I have a context of release. If a label approaches me to release an EP, I’ll go into my folder of unfinished tracks, pick the ones that would match the label’s direction, tweak them, mix them, and share them. This approach allows me to review specific technical issues I didn’t know how to fix when making the song or perhaps change something I didn’t realize wasn’t working. Sometimes I show the music as is to the label and we both decide of the micro changes. It always works better.

With this mindset, I can trust that my future-me will have the wisdom and resources to do whatever needs to be done when I need to let go of the song to the outside world. I teach new producers this mindset, encouraging them to say “that problem is already fixed, but in the future,” for anything that seems like a decision to take or a technical challenge. What is important to fix in the here and now is more about articulating the hook/idea and selecting elements to support it, to the best they can do.

We always evolve. Each song I make, I try to learn something new or practice a new approach. Something learned can then be applied to past projects, but if you always follow the same recipe and routine, you’re not training your future-you to make better decisions later on.

Tip: Instead of trashing it, freeze the track as a snapshot of your progress. It’s a milestone, not a mistake.

The “sous-chef” experience

October 7, 2018/in Blog/by pheek

I’ve been reading a lot about music arranging lately, mostly to see how the big players in the music industry approach it. It’s not that I love how things are made in that scene, but more because I want to see what I can take in and transpose to what I do. There are major differences to what the underground music producer will do in an arrangement.

Majors work with a team. You can’t make it on that level without a full team looking into making sure that each step is taken care of. This implies song writing, project management, recording, editing, arrangements, and mixing. Nothing will be done half-way.
They want the best in every sphere. To make great things, you need the best. Therefore, they will rent the best studios, hire the best musicians, and make sure that every player involved has a strong list of credentials.
Nothing is made quickly. Sometimes things go fast but they won’t take things in an easy way.

(Photo by frankie cordoba on Unsplash)

The average release on Beatport is a one-man band, but more than often not if equipped properly, will still get some attention. The main difference is the song’s longevity. Most underground songs won’t have a long life, and might not get many plays and if it sounds like a lot of music out there (eg. it’s a tendency that people will imitate the top 10 to be part of it), chances are that in 1-2 years, it will be forgotten.

Where I think we can learn from the majors is about team work. The main issue with this is, most semi-pro musicians or aspiring ones have to put some life priorities first. We started a community project with my Facebook group that is called Cosmic Relay, where we would work as a team to make songs. We did a first EP that made it to the top 3 on Beatport (Minimal) without trying to copy anyone. The potential is there indeed, but on the second batch of songs, we struggled to rally everyone to make things move with a good flow.

I’ve been experimenting a second approach, which is inspired by how restaurants work. I’d be the “chef” and I’d be working with one or multiple “sous-chefs.” One of my strengths, available as a service through my Track Finalization product, is to make arrangements and finish music. Finding the elements to start often takes me ages to create, mostly because I work primary with randomly generated music (ex. from little jams, tool/demo exploration or simply using randomization on plugins). While this generates a lot of original content, it also requires me to go through a lot of recording to find the little gems in there.

Working with a “sous-chef” is most probably the best thing for my workflow. I send them on a quest to gather material based on my suggestions and then I’ll compose with what I have. Facing some limitations bring a flow of high creativity in me. I usually find ways to find how to use the elements to create a timeline and then something that gets me excited. Usually the direction of the project is decided by the people I work with. We agree on a reference and decide where to go with it.

I’m not sure if you have watched Chef’s Table on Netflix, but for me it’s been a source of inspiration. I see parallels between the chefs starting a restaurant and musicians opening their studio.

One thing all music producers all have in mind is to remain playful, open and to reinvent themselves.

So back to our project: if we continue to take inspiration from the majors, asking for help for the parts where you feel either slow or less solid, is a great way to complement another artist. Collaborations are the best way to do things you could never do alone, every time, for the best.

“Yeah but I want to learn how to do everything by myself!” I hear you say. Then be ready to be a jack of all trade, which is a master of nothing. That’s not a bad thing, but then you might never shine at what you’re supposed to be great at, simply because you’re spreading your precious time on different tasks that others could do better. The thing is, you’ll get better at everything if you also work with other people who are better than you at what they do.

I’m a good example of that. It took me a long time to get better at mixing and I’m still learning. Same for sound design. But talking with other people was more fruitful than spending time on Youtube. Using and buying quality samples have also been incredibly useful in the process. As well as getting quality tutorials.

For best collaboration tools, here’s my favorites:

Splice for getting samples and sharing projects.
Native Instruments Sounds.com for more samples.
ADSR for presets and tutorials. A fast way to have your basis and kick start quickly any project.
Dropbox for sharing anything and everything.
Reaktor’s community for getting new patches ideas.
Our Facebook community to meet new people in the same mentality as me. We have a label that we then release the music on.

My tracks always have the same song structure

January 4, 2018/in Blog, Production/by pheek

(Cover Photo by Luca Bravo)

One of the common things I often see and also struggle with myself is that sometimes I feel like my songs are always arranged in the same way; my song structure is often the same. While there’s nothing inherently wrong with following a regular song structure, often I feel like I need to have more arrangement variations in my work and new ways to present my music.

So, what’s wrong with repeating song structures you already know work?

There are secret ways to consistently get great results with certain arrangements that, for the most part, will always “work”. When I used to DJ hard techno or drum and bass in the late 90s, eventually I became really bored of all the tracks had the exact same structure. Yes, it was extremely easy to mix the tracks together once you understood the “tricks” but at the same time, it was also underwhelming for listeners and DJs with a creative minds who preferred more challenging music and mixing.

It’s important not to fall into repetitive habits and patterns; you might find new arrangement tricks while exploring and experimenting with new song structures.

Before jumping into slice mode to get your arrangements upgraded, let’s outline a few rules that will be very useful to consider before we actually begin editing:

Export a wav file of the last track worked on (any project!), finished or unfinished. Especially if you’re working using my method of Parallel Music Production; this technique will be very useful. Start a new habit of not only saving your project at the end of your session, but also bouncing a wav file of what you have.
Import your file into the current project you’re about to work on. By importing, I’m referring to the arrangement section where you can drop in an empty, dedicated channel.
Use markers for the arrangements as for where there are key points, changes, transition. With these references, you can see if your current project has similar points as your previous wav file, and then you might want to change it up if they are similar.
See if the two projects can be easily mixed by a DJ. This is a good test to see if your track has too much going on, or if things will be fun to mix. I’ve said countless times before that if your music is fun to mix, DJs will carry a copy of your track for all their sets.

Slice your song structure

With your new habits in place, now go into slicing mode and get things started. As I’ve discussed before in a previous article, How to Turn a Loop Into a Song, you’ll need to decide the bpm and length of your track as starting point and build from there. I invite you to refer to the post if you need the full tutorial on that topic.

So let’s say you finally have a structure made up that you’re happy with. Here are the main key points I often use to avoid redundancy:

Find the main sections of your song, and slice off the beginning and the end. A “section” of a song is a part that is different than others for its content. In pop music, we refer to these sections as bridges, breakdowns, choruses, etc. In electronic music, these types of sections might be a bit more subtle or non-traditional, but they’re still there.
With your sections isolated, determine if your perspectives are balanced. By “perspective”, I mean this just like it is used in photography; see if your track has balanced ratio.
Insert empty slices in middle of the parts as well as some random points in the song. Check some “winks” that you might be able to make from the reference track you originally imported. “Winks” are when one song might “talk or reply” another if mixed properly.
Move around your sliced blocks/sections. Try wild swaps and mess with perspective. Be creative. In contrast to the often useful “use your ears not your eyes” advice, in this case I highly suggest working on your structure visually alone without any sound at all so you’re not biased or held back in your arranging experimentation. If you’re new to the idea, make sure you make a backup copy first of your project. Personally, I spend quite some time to make something visually appealing with my blocks even before listening.
Intentionally leave mistakes. Did you move something slightly off the grid? Did you paste a section at the wrong place? Try leaving in it the structure until next time you come back to it.

Try messing with your song structure; let me know how it goes!

SEE ALSO : Lego Blocks as Song Structures