the album, four are composed by Peter Morrison and two are based on traditional arrangements. One review noted that it shows the band "supporting the assumption that their ideas are self-contained and firmly Skye-based." Music Mellowosity features a highly eclectic sound featuring an array of different influences and styles, and was described as "creatively blending a wide spectrum of musical ideas into [the band's] repertoire." Dave Steger of Allmusic said that although the album might initially appear to be a typical "fiddle and pipes, Celtic-rock" record, "the album unfolds (and upon repeated listenings)" and "its subtleties are revealed to prove wrong that initial assessment" as "virtually every track is accentuated by a unique accent sometimes fleeting in duration and sometimes dictating the course of the track." Marshall Anderson of The Living Tradition said that the band "belong to the generation of Scottish musicians who have their roots planted firmly in our traditional folk music idiom while simultaneously and fearlessly exhibiting a willingness to experiment eclectically," and that, on Mellowosity, they "switch effortlessly from one influence to another often within the space of a bar. This stylistic shifting, which can take them from a bagpipe jig to an afro rhythm and from a reggae beat to rock guitar riffs reminiscent of Pink Floyd and back again to Scottish fiddle jigs, may upset, offend and raise the hackles of many purists but the overall texture is thrilling and full of the unexpected." Keith Whitham of the same publication said the album contained dub-style percussion and reflective tonality. The album saw the completion of the band's transition from a vocal-based group to an instrumental one. The first track, "Lexy Macaskill", is a "mysterious" track which feature a motif that Seger compared to Mike Oldfield's Tubular Bells. "Eigg Man" is a more traditional, midtempo track with jazz and rock influences, whilst "The Manali Beetle" was described by Anderson as "ably demonstrating" the band's "technique of painting with sound". The track was described by Anderson as where an "electronic cicada introduces a solo chanter before Caribbean rhythms and an arrangement of bagpipes, synthesiser and echoic guitar chords are joined by a strong percussive dance beat which all fades out in an atmospheric swarm of insects." "Macedonian Women's Rant" is Eastern music-influenced, whilst "Angus McKinnon" features reggae rhythms that "unveil additional disparate tendencies" to the album. "Weary We've Been/Dancing Feet" is one of the album's most