Red Mosquito

Farmer John wrote:Oh, and good news: You can hear what those kids are saying in Stupid Mop much clearer now!

Trag will be over the moon

If only he had a sound system equipped enough to fully experience it.

Possess neither stip's eloquence nor patience, so, no song-by-song, but, I'll just say that, on first blush, Vitalogy is, thus far, probably my least-liked atmos mix done by Josh Evans.

There's decent separation here for Stone & Mike, but, imo, these songs are too treble-heavy to be pulled apart and re-assembled like this, leaving everything sounding a bit too brittle, as the bass suffers noticeably on many of these.

Subject to change and all the rest.

I've been busy, but I will go back to these once the weather is warm enough for me to walk around outside again

listening to the binaural mix. so far its one kd the better ones - more seperation of parts that cuts through the mud of the record without undemining the cohesiveness of the song (which, iirc was an issue with the no code mix) or clearly deprioritizing parts of the mix (like DM where whole parts seemed to disappear at stretches)

breakerfall: seems busier in a pleasing way. overall a less brash mix. only note is the music coming into the last chorus is a little less rich than the studio. overall may prefer to original

gods’ dice: more seperation in the layred vocals, which really highlights that it may be the vocal layering thst takes me out of the song. like breakerfall, the transition out of the bridge looses some umph. overall like about the same

evacuation: no mix changes the worst chorus in the catalog. verses are a little scruffier and better than the album mix. guitars too muted in the climax. balances out to slightly superior to studio but some parts are worse

Light Years: this is already a disjointed composition by design, and the atmos clarity of each part maybe pushes this too far. the bridges/outros thus far have been the most impacted by the mix. During the bridge you can hear a lot more, but at the expense of mike’s part (i think mike - the bit that came over from P and G - and thats the best part.

i think i may prefer original mix, but its close, and I do like how the songs feel jist slightly new

okay - i rarely listen to binaural start to finish and have no real investment in the first 4 songs. Lets see about NAIS, a song i really like

NAIS: definitely some lost atmosphere, but picking some cool things up - a high pitches whine into first chorus - stone’s downtuned acoustic guitar is clearer under mike’s chorus wailing. but its coming at the expense of jeff (i think that accounts for the last atmosphere). ed sounds more distant in the bridge. some cow (?) from matt towarss the end of the bridge. you can hear more of each note mike is playing.

still, while you hear a bit more from mike, stone, and matt, it comes at the expense of jeff, some of ed, and the killer atmosphere

a step back from the original mix

thin air: this is interesting- there is a distance/echo in ed that makes it seem like the song is reflecting on something present from a safe distance. Ups the contemplation by about 10% and lowers the sardonic cheese by about the same. I like how flat matt sounds in the final’ ‘there’s a light’

jeff seems to be done a bit dirty in these mixes.

overall thin air mix slightly prefered to original mix

insignificance: eddie struggled to be heard over the music. thematically appropriate. coming out of first chorus seems like a lot drops away. definitely hearing some new sounds i cant quite identify in the bridge and outro.

you can feel how atmosphere and the totality of the listening experience are at war with the clarity and seperation at parts. probably prefer original release mix, but basically equal.

of the girl: ohhh, i like this. weirdly here the seperation and definition adds to the hazy experience of being stuck while life swirls around you. thus far this is the best mix. takes what the original album mix is aiming for and makes it better.


general note - maybe this is because of the source tracks, but there are what feels like volume spikes in many somgs (like the of the girl chorus)

grievance: a little harsher/scruffier than original. feels a little more live - easier to make out the guitars that arent ed. picked up on some new things.

not sure which i prefer but i did like that mix

rival: like how matt sounds here. everything just feels more, but the cacophony leans into rival’s strengths and goals as a composition

this is my favorite binaural song, and i think i prefer this mix. no critique

sleight of hand: somehow more present and ethereal at the same time. eddie gets absorbed by the roaring guitars of the chorus. cool dull echo on ed’s vocals at end of second verse

I dont like sleight of hand, a song that achieves what it is aiming for, but not one i want to hear. But i liked this a lot - it executes on its concept and themes, and yet manages to feel dynamic and enganging. huge step forward, but keep in mind if you love the original your mileage may vary

Soon forget - it is what it is. feels more like eddie is singing in your ear than around a campfire. not better, just different

Parting Ways: feels more…orchestral, maybe. there is a little more formal majesty, less like it is puzzling through final momemts and more like it is giving them permanance because nothing new will follow. the opposite of drifting away, but it gives the moment more emotional resonance because you are experiencing the awareness and impact of loss.

different, but i prefer this one. and i like the original, but this was great

this is, easily, the best of the atmos mixes thus far (at least on air pods). generally more clarity and separation without losing cohesion. there are some songs where you lose atmosphere, and occasional volume dynamics issues (think of the just breathe jump from verse to chorus). and there are a few songs that improve on the originals, either by slight alterations in vibe (thin air), leaning into what it does and giving you more/doing it better (rival, sleight of hand, of the girl), or transforming the song in subtle but real ways (parting ways)


Breakerfal: slight improvement
Gods’ Dice: same
evacuation: slight improvement (but still evacuation)
light years: slightly worse
nothing as it seems: worse
insignificance: same
thin air: slight improvement
of the girl: improvement
grievance: same
rival: improvement
sleight of hand: major improvement
soon forget: same
parting ways: improvement

okay - here come some no code atmos mix thoughts:

Sometimes: its a louder mix - less gauzy. everyone’s parts are quite distinct. more quiet stormy effects. the climax is more forceful. slightly different vibe. good mix

Hail Hail: nice bite on the main riff. mike’s bridge intro and outro are really loud and distinct - like a motor revving up. some bits in the outro i never noticed. i like hearing mike more but it isnt as well mixed as sometimes


Sometimes: improvement
Hail Hail: less good

who you are - like sometimes this is just a louder, more in your face pearl jam. as a fan of louder, in your face pearl jam, this is good. Eddie and jack both more forward in the mix.

who you are - improvement

In My Tree: sounds crisper, but jeff and jack drop real low once the guitars kick in. and whole band is low in the bridge - some interesting higher musical part guides the transition into the last verse

this is definitely a less contemplative mix. end of in my tree a bit more chaotic.

in my tree: minor improvement

Smile: punchiness of mix serves smile well. the background / afterthought vocals are a little muted in the verse Mike solo a little too loud compared to rest of song - the sirens/yellow moon/sbm problem on lightning bolt

Smile: improvement ignoring the volume imbalance (which i am told may be because my head is moving)

off he goes: you hear more of the drums early on. i feel like you lose a little guitar in the verses. the main acoustic part is more pointed


Off He Goes: same - lost a little of the wood panel warmth but it feels like there are more stakes

observation- halfway through. No Code has always felt like a minor record full of half commitments to me. almost none of the songs land with emotional impact i want. these do. but it comes at the expense of the ‘these are recollections of memory’ vibe of much of the album. and if that is a draw of No Code for you it is dialed back

habit: they actual take some of the scuff up the vocals, which is a plus. but in the process the song feels less huge. more garage rock than whatever monsterous roar they capture on the record.

habit: ed is plussed up. the rest is down, and the music is the draw for me. overall negative

Red Mosquito: now we’re talking. Red Mosquito sounds HUGE.

weirdly Eddie sounds like the end of each line in the chorus is stopping a microsecond short. not a critique. just an observation.

some of mike’s work sounds just slightly different

I loved this Red Mosquito mix. its my favorite song on No Code to begin with, and this sounds like it could have been on Vs

Red Mosquito: big plus

Lukin: also sounds huge - hits how it should

Big improvement

Present Tense: feels more, well, present. the music looms in a way it doesnt on the album mix. Cool extra backgroubd clarity coming out of the first chorus.

love how jack sounds going into the outro. and there are some extra sound effects during the outro. and a metallic shine to the main guitar part that sounds gorgeous

again, some of the quiet distance is lost. but i like really feeling it. This is Present Tense sounding like Setting Sun

Present Tense: big improvement

Red Mosquito -> Lukin -> Present Tense is a great run. a total improvement on the album

Mankind: more confident. more bit on the guitars and the counter riff going into the second verse. Stronger solo, and more sound drops out at the start of the final chorus which means it sounds huge when everyone comes back.

Mankind: Also an improvement. A little less sardonic but gains more than it loses by treating the song more seriously

Im Open: okay - while I dont really like Im Open, i think this is a step back. this and around the bend are the two moments where the daydream distance on the album serves the song. this is a pretty musical bed, but it doesnt get to breathe, and the volume is invasive

Im Open: less good

Around the Bend: jack is much louder but in a pleasing way. this version would be out of place on no code but works here

Around the Bend: slight improvement

Overall, like Binaural, this was generally well served by the atmos mix. off he goes, im open, habit (weirdly) and hail hail all lost a little something, but nothing catastrophic. In my tree basically a wash

Around the Bend, Who You Are, and Sometimes lose atmosphere but gain a compelling immediacy. Smile and Mankind feel more important

the Red Mosquito - Present Tense run of songs felt like hearing them again for the first time - like someone took those core performances and ran them through a pearl jam filter.

Okay everyone - time to share some thoughts on Atmos Yield! as usual, this is an airpods while walking listen.

brain of j: drier, flatter mix. jeff more prominent in lead up to bridge. does a goodkpb giving everyone (esp jeff) more space without lising cohesion, but mike a little buried in outro

brain of j: a wash. slightly different feel, but not revelatory. slight edge to atmos for more jeff but comes at expense of jeff and mike at end.


faithfull: faithfull has always felt slightly unfinished to me - like a demo. no allegiance to studio mix. Eddie is way out in front of this. same with backing vocals.. weirdly you can also here a bit more of what everyone is doing bit its muted

i like how the music sounds here and yet you cant really hear it. if you love yield era eddie vocals (i dont) this will be a treat

faithful: another wash - pros and cons


no way: i do like how jack sounds so far. the bass drum is more prominent. jeff also much more up front - nice mix of everyone going into second verse/chorus. but overall loses some of the playfulness

overall 3 songs in - drier, tighter, but less open. cant say one is better or worse. just different

given to fly: continue to prefer jack immensely on this mix, and he and jeff are pairing nicely. feels slightly more claustrophobic in verse, which could work with expansive chorus in juxtaposition.

and i think i realize what my issue. i prefer the sound of this mix generally. but every yield song has that one explosive “lift off’ moment. these define the album in an important way. it makes everything feel just a bit more exciting and cathartix even if its an otherwise modest song.

given to fly explicitly builds to these moments. and the mix flattens them out so they feel like continuance, not elevation. so thus far i’ve preferred these mixes until they reach that moment and then im let down

you hear more prominent guitar accents in the second chorus

overall given to fly a step back

Wishlist: the wave effect pans more. guitar accents sit more within rather than on top of the mix, more organic a part of the song.

but yeah this is a plus until we get to mike’s sublime solo and its just another part of the song. an accent, not punctuation.

wishlist: a slight step back

pilate: no mix will change the lol wut nature of the chorus so it will never feel an organic part of the anxious meditative music that proceeds it.

second half of the song the mix starts to push forward some musical beats (like a spacey wah wah moment going into bridge). starting with end of bridge there is much more prominent seperation and highlighting of backing vocals - especially eddie - a part i never really noticed. so cool, but feels disjointed.

pilate: original mix more cohesive. no mix will change the lol wut nature of the chorus so it will never feel an organic part of the anxious meditative music that proceeds it.

Do the Evolution: wait, is he singing ‘on the loose, I’m mature…

tighter feel - some new accents around second chorus. less bass in hallelujagh chorus - chugs out of it. stone’s solo heading into last bridge way too muted. some cool glitchy guitar at very end

do the evolution: see basically every prior comment

Red Dot: revelatory. it used to be a mildly annoying interstial piece. but the atmos mix feels like you are reaching for the face of god

(no it doesnt)