Red Mosquito

I have been neglecting this thread and I'm sorry. This used to be my baby.

I've not made it around to reviewing Mix #15 yet, because as a whole, it's a mix that has not been sitting well with me. For some reason, I've been having some off and on depressive stints over the past couple of weeks, and it seems any time I've been listening to this mix, those kick in again. However, I've been feeling better the last several days, so I'm going to soldier into this thing and write some words about it.

Track 1: I think this is my favorite song in the mix, as it sets a mood that is compelling, but never followed up on. A subtle drone opens the mix that is slowly built up with percussion, guitars, and keys. An atmospheric track that is giving me immediate parallels to

Spoiler: show

Grails.

Is this one of their side projects? Perhaps it's just the time of year, but I'm really digging kinda moody and spooky music at the moment, like the Last Ex debut album that just came out. This is in a similar vein, though more trippy.

Track 2: Our druggy haze fades away when this song begins. While some parallels to the previous tune can be found (the programmed beats, the keys, the subtle guitars), this one veers more in a "soulful" direction. There's a lot of neat little details scattered throughout, but I can't tell if this is contemporary, or classic. My bet's on the former, though. I'm not super into the vocals, but they don't grate, and they serve the song pretty well, tying the whole thing together rather nicely. I didn't like this one in my first few listens, but I've come around on it.

Track 3: Moving further into soul music, which brought up the thought that I had no idea there were so many people on RM into this type of stuff. Personally, it's not really my cuppa, which is probably part of why I've had such a tough time getting into the right headspace for reviewing this. There's something familiar about this tune that I can't place; it may just be the style, or it might be something else.

Track 4: Rhythm is clearly playing an important part in this mix thus far. While the arrangements on this song are more stripped back and bluesy than the previous few, there's still a groove present. A quickly strummed acoustic guitar introduces the song that is then built up with some shuffling drums, electric blues guitar and a bass that brings the bottom end. The vocalist is trying to pull it together, but not succeeding, as his voice is raspy and sits in the whisper range too often, where this song seems to call for a little more strength. I'm not sure, but I think I may be sensing a thematic pattern of love gone awry for this mix.

Track 5: Have we done this sort of mix progression before? Going from soul, through the blues, and down into some Cajun big band jazz? I think we have. This one's a bit slight, but that's a'ight, 'cause I'm not really into it. Plonky piano, lots of brass, a serviceable rhythm section, and a little bit of unmic'ed shouting at the halfway point.

Track 6: This was one of the bigger WTF moments of the mix, the first time through. Here's this little folksy acoustic number with a British man delivering a spoken word monologue instead of singing. I wanted to figure out exactly what was going on with this, especially since the melody was bringing to mind some half remembered classic rock song, so I looked it up to discover that it's

Spoiler: show

Billy Bragg.

Okay.

Track 7: Back to some funkier stuff, this one lays down a cool late-night vibe. For a while it seems to be an instrumental, but then about two minutes in, vocals show up in a half sung-have spoken fashion. I knew the vocalist was familiar, so I just checked with Google.

Spoiler: show

It's Lou Reed on the mic, with Booker T. Jones listed as the main artist. I also some collaboration with members of the Roots, so I can see where the cool vibe comes from.

Track 8: Bringing things down a bit, we have another slightly jazz number, this one rendered with a bit of somber nostalgia. Another mix highlight for me, but like I said it may just be the October air or something. Piano led, with some wonderful strings, a few touches of guitar, and some brushed drums. All of it solidly played and there's a wonderful sense of melody. I like.

Track 9: This song bugs me. I really like the music, but I can't stand the vocals and lyrics. Strangely, I think I've got even more vitriol for the latter. A reversal of the usual spurned man dropping his woman like a bad habit; here we've got a lady heaping her anger on the guy. I've got no problem with that, but the overall sentiment doesn't sit well with me. The musical part of the song is a nicely swelling indie punk tune that releases little bursts of jagged energy here and there.

Track 10: Swinging back to the '70s, we get some groovy space soul. It quickly swells from nothing into a fully fledged song that charts its own structural path. No verse-chorus-verse, etc. Instead, the lyrics are almost stream of conscious while the music builds towards the conclusion. A bit too short, honestly. I think there was room for a little more.

Track 11: Yeah, there's definitely a broken heart behind this mix. Here's another soul tune where a man waxes nostalgic about meeting his lover because it's all falling apart. Though I don't think it's ever said why. Sounds like the typical situation where one person grew away, and the other is having a hard time adjusting. The usual fare of brass with some slinky guitar and a drummer who steals the show make up the songs instrumental portion. There's some lap steel guitar involved, which I noticed in a previous tune. Is that a normal soul music thing that I just have never noticed before?

Track 12: This song is another one that's stripped down to some simple guitar and piano with a straight ahead beat and another broken-hearted singer. Here, though, we also get some angelic backing vocals along with a few touches of strings. This one's okay. A little long-winded on the "woe is me" side, but I get that. It's easy to wallow in sadness. I know I've done my fair share of it.

Track 13: And now we're tumbling towards the finale. This penultimate track is another breakup song, but this time it's the narrator who "needs the change." Or maybe it's both, because he says she needed a change, too, and "she" agrees in his falsetto voicing. Amusing. This one lays down on the slower side, with a fairly typical arrangement of organ, bluesy guitar and drums. It's all set to a tempo that smolders while also kicking and spitting just a little bit.

Track 14: Like the opening, I'm not quite sure how this number fits the vibe of the rest of the mix, but this is a good closing piece, nonetheless. I knew during the first listen through that this song had a very familiar set of chords, and once I placed it, it was like a light bulb moment. A little sleuthing confirmed my suspicions.

Spoiler: show

I figured this was a piano cover of Us and Them" by Pink Floyd. Close. It's actually Rick Wright's demo version of the tune, played on piano with a little of bit of bass backing.

Overall, this mix isn't bad, it's just sad. Couple that with my own angst of late, and you get something that bugged me rather than piqued my interest. Still, this is a solidly constructed piece that largely hews to its chosen theme very well. Good job on that, mixmaker. I don't know who this one is.

Oh, and I just realized, we never got a tracklisting or mixmaker credit for #14. I'm curious to know more about that one.

Well hello there.

I Want A Hovercraft - Ten Bucks
Godflesh - Frail
John Murry - California
Electrelane - Birds
Malcolm Middleton - Birdwatcher
Strand Of Oaks - JM
Seascapes Of The Interior - Moving
Nick Cave and the Bad Seeds - Darker With The Day

A few months I was going through some old live shows I'd played and was reminded of 2 bands that we shared the stage with, I Want A Hovercraft and Seascapes Of The Interior. With no bandcamp or youtube representation, to share them I'd have to make a mixtape. I thought they might be right up Heathen's alley so started crafting a mix with Godflesh, Swans, Old Man Gloom. As the decades tourney progressed, my fondness of Swans emerged so I dropped a few tracks opting for some newer material too. My first mix was all pre 2005. John Murry and Strand Of Oaks have been played a lot this year. The Malcolm Middleton track is an old favourite and is an attempt to have some 'pop' in the mix.

There might be a loose lyrical theme through this but that'd be a stretch. It was all about mood and musical textures. I did have some more upbeat moments that I tried but it had to stay murky with only moments of relief. However, there are a couple of nice little coincidences. Birds into Birdwatcher with both being the losers. And both track 3 and 6 mention knives in the back.

It's certainly not an up mix but I really like the flow. And it definitely captures what I've been listening to lately.

Great write up Brett. You certainly got what I was going for and pretty much all comments were spot on. I nearly edited tracks 3 and 7. And good spot with Arab Strap/Malcolm Middleton.

And thanks to Stip for the review too. This has made me want to review everyones mix. The feedback is nice.

I listened to your mix three nights in a row before I went to bed, LMS. I promise to get a more thorough review of it up at some point, but I don't think anything I say will be a profound as the previous statement. Especially cause it was a really shitty week when I did that, and your mix hit the spot super nicely.

I promise I will review every mix before Dec. 5.

Lament wrote:I listened to your mix three nights in a row before I went to bed, LMS. I promise to get a more thorough review of it up at some point, but I don't think anything I say will be a profound as the previous statement. Especially cause it was a really shitty week when I did that, and your mix hit the spot super nicely.

Yeah I smiled at that comment. I think it was in the decades draft you asked why can't I have fun. This mix is an answer of sorts.

OK, so now I know a little bit more about LMS's mix #14 I'm gonna give it another spin and see if I can come up with some words.

Track 1 has a great slowburning intro into a whispered female vocal, nicely atmsopheric. I really like the slow build through this one, the reverb guitar parts are just great. It's actually a bit short for mine, disappointed it ended so soon.

Onto a more guitar driven track next, muffled vocals over grungey guitar. Once I'm into it I kinda dig the tune on this one. This could have been one of a 1000 songs released in the 90s, not that that's a bad thing.

Track 3 could almost be a Bruce Springsteen outtake. I like this one a lot.

Track 4 gets a bit of a groove on early with the clean picked guitar, basic drums and vocals doing their thing. I'm enjoying this track a lot, in particular the single note guitar line throughout. The vocals are interesting. This is another one that if anything finished possibly a bit too soon. Cool.

Nice transition to track 4 which immediately heads off to a bit of a different place then those tracks before it. This one is a bit more expansive with a few little techno sound effects thrown in for good measure. All in all I'm really enjoying the flow of this mix. Great job LMS.

Track 5 brings it all back down again (not that track 4 was that far "up") into the quieter side of things. Until the "epic" portion begins. And then quickly ends. This track rolls along nicely enough, threatening to, but never quite, going the fully 'epic' Muse route, for which I am certainly very grateful.

And now we start the 20 minute slog of track 6. This is a lilting, dreamy track for the most part, the piano and violin parts reminding me of a less angry Dirty Three. Actually this is very reminiscent of those guys indeed, the music having a searching, questioning quality about it (well, I know what I mean by that statement anyways). Not sure about the Indian (?) vocal in the middle, but the music is certainly quite lovely. I like the way it changes on itself throughout. I am certainly a fan of the sound of a clean piano. As this tune progresses I find more and more to enjoy in it. Nice.

And the final track is my old mate Nick Cave. The piano joining these two songs is great. This is a great example of Cave's storytelling ability and his singular lyrical phrasing. All in all a great way to finish what was a most enjoyable listen of a mix. Nick Cave has this gravitas that you can almost taste, and that seems to fit this mix beautifully.

Great job LMS - the mix certainly held it's feel and vibe throughout, and it makes for great background music to work to. Interesting reading your thoughts on creating the mix as well. Cheers.

Cheers Varis. Glad you enjoyed it. It could only end with Cave. I tried Bonnie Prince Billy but it didn't have the gravity that Nick has. John Murry might be right up your alley.

I'll drop box the Hovercraft and Seascapes eps if anyone is interested. The rest are out there.

I do hope Heathen has a listen.

Count me as interested, LMS. Looking at my review, those were the tracks I enjoyed the most on your mix.

Okay, listening now.


1. My initial reaction upon starting this mix was cringing at how long so many of these songs are. Having said that, I like the first instrumental for its sci-fi space western feel. A pretty cool atmospheric piece that will hopefully be followed up on.

2. this sounds like a contemporary sounding to be like classic stevie wonder and not quite getting there.

3. By track 3 I think track 1 has been rendered somewhat pointless. I'm not sure why the mix would start that way and go in this direction. this continues in the same vein as track 3--a modern take on a classic sound, but it sounds like a gimmick, rather than authentic, at least to me--like a soul track that's been stripped of its soul. It's not that I didn't like the singers--they were fine--but I don't know that i believed them.

4. This is a pretty cool groove at the start. Follows from 2 and 3, and a bit more my speed. I still wonder why track 1 is here, and wonder if this would have been a better transition. I really dig this music, although once it starts getting a bit more crowded I lose some interest. I agree with Brett that the singer doesn't work. I'd like some more power here or, failing that, to feel that the raspy voice is raspy because of hard living. This feels like an affectation

God damn it. this is 8 minutes long. you fucking people.


If someone told me this mix is a bunch of modern covers of more obscure soul/blues songs I'd totally believe them. It's thematically and sonically tight so far except for that first track.

Track 5: man, for a split second I thought this was yakkity sax. I think this kind of stuff is fun for about 3 minutes on occasion, so this track was just right.

Tack 6: God, I love British accents unless they're in music, at which point I generally dislike them. I just don't want to listen to this guy talk. Like the first track this comes out of nowhere and feels more disruptive than interesting

track 7: especially because we're right back where the previous run of songs left us. Is this Lou Reed or a Lou Reed impersonator. I was never a fan of his.

track 8: smokey jazz. I'm hoping for a torch song, but as with track 5, this kind of thing as a stand alone instrumental, for a few minutes, every now and then, can go down all right The guitar is really tasteful. The whole song, really

track 9: this came out of nowhere. This has a lot of life to it, which was nice after the past few songs. I liked the washed out electric rainbow haze of the music, and the general energy. This was pretty decent. Probably my favorite thing on the mix thus far. I could do without the lyrics, since I'm not generally a fan of these kinds of songs.

track 10: I have to assume that these lyrics are telling a story I haven't noticed, because otherwise this mix makes no sense. See comments for tracks 2+3. I only like this kind of stuff under optimal conditions, which these are not. This ended kind of abruptly for this style song.


Track 11: see 10, but I like the way the organ sounds like it is quietly gnawing at you from just beyond your sight. This was one of the better of the classic sounding tunes on here.

Track 12: the droning drum track fit in well with the way the song wallowed in its own pain. the background vocals gave this a touch of melodrama I'm not sure it needed. That musical flourish halfway through was a bit odd. There is the potential for a nice mood piece here, but the song keeps getting in its own way. It's all a bit heavy handed.

Track 13: Again, feels a bit too familiar without feeling new to really be interesting to me, but this was one of the better tracks on the mix.

Track 14: Lonely song, and the fact that it's so understated feels more powerful given how overstuffed some of these other tracks were.

Overall I had some problems with this mix. There were some nice moments (my favorites were the instrumentals, actually), but the flow was bizzare, and a bit too many of the songs felt like retreads of other, more succesful songs. Maybe it's because they're in genre's that I'm not that familiar with/into, so the distinctions that would make or break a song would be lost on me. I assume there was a narrative here that I missed. Otherwise this is just too random.

Margaret? This is God. Please Shut Up.

01. Watter - Rustic Fog
02. Shuggie Otis - Aht Uh Mi Hed
03. The Greyhounds - What's On Your Mind
04. Ray Lamontagne - Repo Man
05. Louis Prima - Night Train
06. Billy Bragg - Walk Away Renee
07. Booker T Jones - The Bronx (feat Lou Reed)
08. Benmont Tench - Ecor Rouge
09. Honeyblood - Super Rat
10. Incognito - Amplify My Soul (Part 1)
11. Lee Fields - Don't Leave Me This Way
12. Bahamas - All I've Ever Known
13. The Shouting Matches - I Need A Change
14. Pink Floyd - Us and Them (Richard Wright Demo)

So I started off really wanting to make a mix using Watter's Rustic Fog as the opening track, and Benmont Tench's Ecor Rouge was also always gonna be a part of it. I have been really busy lately as we are moving house, and as I'm the poor Joe whose been packing the Sea Container I've been listening to all sorts of odds and bobs recently. This mix grew from that process, as I listened to random tracks and got into certain ones more and more. For whatever reason I fell in love with The Greyhounds 2014 album, in particular the song included here, so then the mix began to take a turn.

I was reading "King Dork" by Frank Portman and in that book the main character (a 15 year old high school student) has an ongoing band with his best mate with continually changing band names and fictitious debut album titles. When I read their "Margaret? This is God. Please Shut Up" title I lost it, and so decided to steal it.

Back to my listening habits at the time, and mixed in with the chosen title, I began to see a pattern emerging of songs that were in whatever way related to the idea of men and women's relationships, and the good and bad in them. At that point I started actively looking for songs that would fit that concept. It certainly wasn't a "at all costs" idea or anything, just a loose association to a concept with songs that I personally liked and had been listening to. The "feel" of The Greyhounds track also leant itself somewhat to a more 'old school' song type, which was easy enough for me to go with as well. Having said that I believe that only tracks 2, 5 and 6 that weren't released in the last 2 years (although of course 'Us and Them' is quintessential 70's Floyd). And I've always been a fan of Billy Bragg and I remember as a kid actually falling out of (unrequited) "love" with a girl after she cut her hair short.

In the end I threw it together pretty quickly and uploaded it to Lament to get the job done - like I said, been crazy busy here lately with not much time. Listening to the mix days later I realised that it came across as somewhat disjointed, even though I knew what the concept was. The trouble was that I hadn't stuck to that concept 100%. I toyed with the idea of re-doing the mix before Lament posted it up and actually really wanted to do so, but in the end I just didn't have the time, so you got what you got. I still stand by the individual tracks picked as I'm a fan of them all.

So overall not a mix I'm thrilled with, but I'm happy enough with it as a collection of songs I enjoy.

And Brett - my intention was never to make you sad. Having said that I love that music is so emotionally driven and such a driver of emotion. I've said it before with these mixes - I don't have to love the songs but they have to make me feel something, yannow?

When I saw BBragg I thought it was you. Yet to hear this mix but if I had then the Honeyblood track was a giveaway.

I'll try to listen to this this week but no promises.

LetMeSleep wrote:When I saw BBragg I thought it was you. Yet to hear this mix but if I had then the Honeyblood track was a giveaway.

I'll try to listen to this this week but no promises.

Oh yeah - there were a few tracks on here that I knew gave me away, but I wasn't too fussed about that to be honest.

I find it difficult to walk the line between posting songs I find and like in the "Albums of 2014" thread, and saving them for possible use in potential Mystery Mixes...

No worries, Varis. Any of that angst I had was in no way related to your mix. It was just work and shit; maybe a bit of seasonal blues. The mood of some of your songs just resonated in an uncomfortable way, that's all.

I knew I had heard that Watter track before; I just couldn't place it. I wasn't far off with the Grails connection, though.

I'll try to post #16 later tonight/tomorrow.

Brett wrote:Count me as interested, LMS. Looking at my review, those were the tracks I enjoyed the most on your mix.

I'll get the CDs from storage this weekend and get them up soon.

Secret Mix #16...

https://drive.google.com/file/d/0B6VItz ... sp=sharing

One of these days I'm gonna get back into the swing of this, I swear.

I do listen to these mixes though. It's nice to hear other things.