Mixtape

OCTOBER MIX.

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Ah yes, the final tape. The last supper. Last drinks have been called. and hey, let’s insert one more tiresome analogical wordplay here for good measure.

maamf. as it stands: done and dusted. don’t know? keep up.

So this is the last time where this writing, will accompany these songs on this site. I said I wouldn’t go on about it, and I won’t. For too much longer.

Just, really, I just wanted to say the following:

Thanks.

Alright then. No more going on. This is it. My fave selections for October below. Some writing about four of them. Nice tape, as always. A thank you to the artists that helped make it all happen. Full tape at the end.

This track, ‘Be Brave <3’ from The Descenters, a project headed up by Melbourne based Matthew Stoff, throws a distortion fuelled melange of noisey off-cuts at a wall, and what speaks back to them is something tightly wound, cacophonous, but with a therapeutic clarity. Music hey?

There’s quite the comfort in this cover from Melbourne’s Parading. It feels justifiably lazy. Lazy within the confines of a slightly drawn out pop song, but lazy nonetheless. Compared to the original from Paul Kelly, ‘Big Heart’ – taken from the band’s second full length Jungle Songs – proves an obvious, distinctive take. This shows the versatility in song writing on Paul Kelly’s behalf of course – a song that that some 29 years later, feels to have stood the test of time. But positioned within a vastly different musical vibe, the melodic dirge that is shoegaze, Parading give this song a new prolonged life, thanks to the grand vision of this Melbourne four piece.

Perhaps a theme of sorts emerging within these tapes is a vague focus on young musicians emerging away from the main hustle of ‘typical’ music cities like Melbourne or Sydney. Tia Gostelow, an Indigenous woman from Mackay, is 17, a recent finalist in Unearthed High, and writing songs that speak to a potential full blown and successful career in this thing. Capturing that intricate and sophisticated approach to song writing reminiscent of fellow high schooler Gretta Ray, ‘Vague Utopia’ is an incredibly accomplished sounding track.

It feels a little arduous and obvious to draw out the link between Telling and Gotye. The links are there – Tim Shiel, one half of Telling, founded the excellent Spirit Level, which houses this release, with Wally a little while back. There are also quite obvious similarities production wise, however ‘Guessing Games’ tends more towards Tim’s own intricate, electronic canon of work. As a vocalist, Ben Abraham’s voice lends an almost perfect tone to Tim’s production. What sits Telling at the top of the hill is this combination of two, clearly incredible musical minds.

That’s it.

Full tape is here. Just for your ears, your eyes and your little beating hearts.

And finally, to borrow from myself, one last thing:

A thank you and good night to each and every one of you. Wake up tomorrow, attack the day ahead and go to sleep knowing you contributed in a positive way to the life of this guy here, Miks Everitt from Melbourne, Australia.

Miks.


JULY MIX.

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It’s round two. Back. Proper music writing. A nice collection of tunes this time around – chock to the brim and all that. Some thoughts and reflections on the tracks within the tape are below. Have a read and a listen would ya?

It feels as though songwriters are a hell of a lot better now at accessing a classic song structure and injecting it with enough personality and originality that it pops, so to speak. On this tape you can here it in the layers in L.U.V‘s track ‘You’ll Never Let Me Go’, the embrace of more traditional blues and soul instrumentation of ‘Down To Rest from Tom Stephens. And then of course you have the Waitsesque jaunt of Lost Animal‘s ‘Do The Jerk’ with its organ and sax combo. Dorsal Fins have always been on that classic pop tip – to the point where every single hit/strum/connection of brain to voice feels purposeful. My Brother’s Friends do the sing-a-long duet real well too, offering two perspectives on a track, simply via the differences in phrasing between the verses.

The cultural significance of movements like LISTEN and Sad Grrrls Club isn’t going unnoticed. Of course there’s forever to go, but the fact that female identifying and GNC artists are now visible is all sorts of good. What makes me (a white cis-dude) a little uncomfortable though is the fact that these artists easily compete (not that it’s at all a competition). It’s not the fact that these artists are themselves good, it’s the question of who the fuck are we to be only now realising that ‘hey music is cool and gee there are some bloody talented people out there’. What the hell were we (predominately white music guys) doing to only get this now. in 2016. Who the fuck are we to put structures in place (like casually sexually assaulting women/overly sexualising women/fetishising those artists that identify differently) that purposefully favour some artists over others? Artists like L.U.V. and Rachel Maria Cox and Julia Jacklin and Tracy Chen and Ninajirachi. All making these tightly wound tracks, some full of more intimacy than you can bear, some with these super tight guitar pop structures. All really really catchy and good (hence why they’re in this tape). We should all make considered and thoughtful choices about who we choose to support.

It’s something that’s been pushed a lot recently – we have a real super exciting electronic scene in this country. And yeah mate, we do. But the most exciting stuff to my ears (and hopefully yours) is happening away from the spotlight and away from the most hearted and reposted on soundcloud. We got a couple of those in here, from the warm and moving sonics of acts like LAIKS, Braille Face, and Ninajirachi; right through to the more pop sound of CDAD and Yon Yonson. I think special mention needs to be made of Tracy Chen‘s ‘Eggs’, which knocks me over into some tingly mess each and every time I press play on the thing. And it would be remiss of me not to make mention of Japanese Wallpaper, the exception to my most hearted and reposted rule.

And all the others in this here tape. This tape especially has felt quite a pleasure to post. If you just can’t wait to read more of me writing, then you may well want to sign up to the maamf mailout. Thanks to all those who have done so already. For those yet to, it’s a monthly mailout full with many of things I been reading and enjoying over the past month. You can sign up here. You can check out the past issues here.

Miks

 


JUNE MIX.

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Sometimes I find it difficult to really properly get at what I’m trying to do with this. As new music hits the inbox, the submit page and the submithub profile, it’s easy for this thing to move further away from its initial purpose. That purpose is to write about and support those new artists I come across and love and am excited by.

That’s not to say I haven’t been inspired somewhat. The past two mixtapes have had me digging deep inside in an attempt to find some purpose in what I’m meant to be doing with all the time not spent ‘doctorating’. It has sparked many an idea, or rather a collection of ideas all focussed around one central big project.  I will still write about ol’ mate Steve, but you can head over here for that.

Now that that’s all clear, perhaps we move towards a brief summation as to the contents of this here tape. I think from here on, I’ll write about a selection of those included in the tape. Around 4 or 5. To write about all (in this case) 19 tracks would make for a long read (and let’s be honest, you just come here for the list, not the writing). That’s not to say that all the tracks don’t deserve some level of reflection. Just know that there are plenty of other (and arguably better) spots to find that. maamf mailout is a good place to start. You can press play on the tape below.

I’ve always been a sucker for local references in popular music. Allan Smithy‘s ‘Four Letter Reason’ does that nicely. It’s becoming an all too common tale within Australian music (especially those in Sydney) to rightfully bemoan the state of living. Nicely, and quite masterfully can I add, using the loose structure of the love song as the base, Smithy details the movement and stagnation of both friends and himself.

It’s not until the final vocal line, just 20 seconds before the end, that we get a feeling Aeora has reared her head from the underground. ‘Afloat’ kicks along at a careful and constructed pace, not quite quick enough for the listener to forget the self-conscious and reflective lyrics, but with enough classic dark electronic pop to create a tension in the mind of the listener.

Occasionally I’ll feel flawed. It’s partly due to an inability to adequately articulate myself. The majority of it though is simply testament to the sheer quality of music I find myself listening to. I wrote to Lee Hannah, or Sessility a little while ago in response to their email about ‘Plaza’, a new track taken from an EP that’ll feature collabs with Yeo and Kira Puru. Below is that inability to express when I’m being pommeled with deep deep cuts.

“It’s really something else – those live sounding drums really get me. And those little key lines that sound improvised and off the cuff but fit so beautifully within the structure. Really, Plaza is super super cool.”

Finally, I wanted to briefly run through some thoughts on Good Boy‘s ‘Poverty Line’. It’s easy to cast this off as a vain Eddy Current Suppression Ring-lite project. Originally I had been sceptical. And either Mikey Young himself from Eddy Current is in dire need of work, or he’s cool with it because the man mixed and mastered the thing and from that point I immediately rethought my initial hesitancy. Again, a comment on traversing the difficulties modern being shoves in your face, Good Boy were probably in kinder when Brendan and co were thrusting around Melbourne’s scene. But still, this nails down an attitude and way of being that is forced upon many of those younger than you (maybe) and me (definitely). The more cut throat this place becomes, the more of these mini revolts happen.

So that’d be it. I know I know, every coupla months, I change things up. I have historically stuck to things that are easier, and what I find easy changes. What I find challenging doesn’t though.

See ya for the July tape in a month or so.

Miks


JANUARY+FEBRUARY ’16 MIX.

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As I sit writing this post, I remind myself that this has been a long time coming.

As slight changes emerge within my day to day life both with this site, new silly ventures, and PhD and work life, I remind myself that all of this has been a long time coming. As I finish off with Hayden Calnin’s masterpiece of a track ‘Cut Love’, I steady myself. Feet firmly on the floor and the words flowing steadily from my hands, appearing on the screen in front of me.

All of this. Everything leading up to this very point in time.

As I sit with old favourites like Arthur Wimble, LANKS, and Ciggie Witch, I mark out my territory. And as I sit and be floored again by Marcus Whale, Luke Howard, and LUCIANBLOMKAMP, I wipe away those old tears. And then with those new infatuations – Alice Ivy, Isabel, and the almighty Dogood, I slowly fall back into a feeling of warmth and knowing and remind myself.

This has been a long time coming.

For some time now I’ve made it a habit to talk around the music. This was how you write. The story on Catalyst the other night about music being used to elicit memories for people living with dementia as they sit, still in those old people’s homes I became convinced that fuck it. What’s the point. If music can do that then it’s indescribable. You’re always going to do it a disservice.

But then I read those others who also do music writing. Those others who write about the music itself. None of it’s perfect, but that’s the fuckin’ beauty of it. This game is about getting close, slowly scraping away at the surface and finding some through line, no matter how long/short/narrow/wide and having that one person sit back and think, ‘fuck, that’s it. that’s what I hear.’

As I start afresh, I see that I’m here. This is where I was heading.

Miks


NOVEMBER+DECEMBER ’15 MIX.

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Sometimes I don’t know what to write at all for these little things. They’re becoming rarer and rarer (it’s the (currently) bi-monthly australian music mixtape site!), and it’s becoming more and more difficult to consider how these tapes somehow relate to my own life in direct, although subtle ways.

For sure it does, what with myself compiling them. And they’re solid tapes too, so, for sure, that’s a nice little accolade for my own musical curating ways. But those direct tangible summaries of feelings and thoughts and states of being that these tapes have helped to provide is becoming less and less clear.

I’m pre-empting a feeling that will hit in a few weeks where after quite a bit of change, I’ll find myself something new.

DOWNLOAD

Best of the year tape will be up in the next couple of weeks too (although last time I promised something I missed it by a month). So yes. Stay tuned for that.

Miks


JULY ’15 MIX.

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I was going to begin this month’s with some long winded metaphorical ramble about names and hey, what’s in a name you know?

Big statements make us take notice. That immediate impact, no matter what, can be pretty hard to forget. Statements that are distinctive in their voice, in their makeup, hey even in their words.

It looks like a scene from The Great Gatsby out my window – a low lit swimming pool with young, attractive people, cavorting around, champagne in hand. They’re making impacts. Drunk, flirtatious immediate impacts. You’ll see what’s underneath those pert bods soon, the distinct beings that they are. But for now, those quick smacks in the face’ll do you.

A tape, full of everything, all marked and unmistakable in what they’re conveying. All for you. And please try the download – you won’t regret it (ha mate, hopefully).

DOWNLOAD (Right Click/Save As)

Miks


JUNE ’15 MIX.

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I fucking shouted it, much louder than I ever thought I knew my voice could go. Much bigger, louder, with this knowledge and acceptance.

Up until this point I had tolerated it. Now, I accept it.

It’s done. I’m down. Here in Melbourne, where it’s fucking cold but there’s amazing sights and great coffee at nearly every turn. And the site, the website that is, is changing and it’s all- everything’s a familiar new. Big generous helpings of everything you’ve come to expect, but all just sitting slightly different.

Full download available below, but if you just sitting at work/home/life looking for that next distraction/reason to live, you can stream ’em all too.

DOWNLOAD (Right Click/Save As)

Miks


MAY ’15 MIX.

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Oh, you know, tonight I move. For just a couple of days short of 2 years and 5 months I’ve been in Sydney, doing a PhD. I know i know, i’ve banged on about the bloody thing for forever. It has taken a big part of my life, and it’s not over yet. Tonight, I head to Melbourne, land of ‘good’ music and ‘cool’.

Trouble is, the PhD still continues, and so does my involvement. This tape (yeah mate, it’s still maamf, you haven’t just opened up my sticky journal of personal going ons), this May tape that is short, but sweet, is excellent. As always, and again, broken record I know, this is the music that has been the constant in a time of going through ALL of my shit, packing up a house, falling bookshelves and housesitting with other people’s dads.

As the PhD continues on (Melbourne is so I can write, get away and into the thesis), what maamf is will undoubtedly change. Whilst we’re unsure as of yet, there is talk (really amongst myself with the occasional drunk chat with Adam) of pulling maamf back to just the mixtapes. These tapes offer me a chance to escape the work, and to reflect on the month (all pretty wanky right, but m8, we all gotta be in touch with our sensitivities ya know?). Also, letsbehonest yeah? It’s not like there are all that many individual posts going up anyways. We’ll start the tape only thing soon, although we might just start it from today. We’ll still be posting a bit over on the maamf fb, occasionally on the maamf twitter and if you’re keen to follow the Melbourne journey, my own instagram.

So yeah mate, this is the tape that’ll accompany my flight tonight, and the future tapes will be those that accompany other, important times of escape. Awwwwwwwwwwwwww. ha jks no time 4 escape wid dis phd.

DOWNLOAD (Right Click/Save As)

Miks


APRIL ’15 MIX.

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Delirious. Full blown fucking delirious.

So much so that at 1am on Monday morning as I write this and then think, ah no, maybe I should just wait till the morning and read this ol’ thing over, you know, give it the old clean up, but then as I write that realise that if I lost this the next morning, you readers wouldn’t know the struggle. It’s real. And sure, it is some privileged white male struggle full of scholarships, reasonably affordable rent and a supportive group of friends and family, but mate it be struggle all the same. (although not the same as those actually going through struggles. I’M JUST FUCKING TIRED).

Big April tape. 18 tracks. All real good. I mean gee whiz. as if it wouldn’t be amirite? As always, can’t recommend enough the tape download. A tasty morsel, showcasing the best in contemporary Australian music of all kinds, put together by one of our chefs Miks, because hey let’s be honest, we had to give the guy something to do, because he’s just always free and ALWAYS HAS TIME ON HIS HANDS ESPECIALLY IN THE EARLY HOURS OF THE MONDAY MORNING.

Anyway, yeah, just have a listen, and bloody click download (or maybe even follow the instructions in the brackets, yeah mate, like these instructions in these brackets, but the ones in the brackets below k?) on the DOWNLOAD thing just below the soundcloud playlist.

It be the music that gets us through. It’s always the music that gets us through.

DOWNLOAD (Right Click/Save As)

Miks


MARCH ’15 MIX.

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I’ve been all deep inside this mixtape over the past couple of days. It’s been pouring and super windy here in Sydneytown, so I’ve been stuck inside, writing, selecting tracks, mixing etc. It’s longer than some of the earlier ones, with 19 tracks. All pretty solid too, although you’d expect that from a maamf mixtape.

From Oh Mercy to Sarah Mary Chadwick, there are odes to self desire and self defeat. From friendships to Abelard, there’s stark harshness and sugar coated nostalgic glitz. A tape full of contrast, with each playing off the other.

A tape worth it, for the showcase of broad tastes and ideas and sonicness alone.

DOWNLOAD (Right Click/Save As)

Miks