Every Midnight Song
If you didn't already know, Portland based singer-songwriter Mirah (full name Mirah Yom Tov Zeitlyn) produced one of the most understated and beautiful records of last year in C'mon Miracle. I was lucky enough to catch her in Nottingham last month; a night which also coincided as the last night on that tour. Support came from Milky Wimpshake and Lardpony, who were similarly brilliant; but Mirah, well, to think that I nearly almost didn't even go. If I remember rightly, it was a Sunday night - not disimilar to how today is going actually - and I had to be at work the next day: you know, all the lame excuses that you always give yourself? Yeah, I had them all to hand. Luckily for me, I went; and it's the reason why I'm writing this. I hadn't heard of any of her stuff before that night. I'd been told I had to go, sure, but I wasn't really sure why. Actually, that's not completely true. I did have some context: I knew that she had some involvement in The Microphones, that she is on K Records , and that her new album was produced by Phil Elvrum. [I would later learn that she's been putting out records and performing since 1996 and that C'mon Miraclerepresents her fourth album - recorded in two studio sessions]
Once Mirah took to the stage that's all that really mattered. You see, once she starts to sing, you're utterly transfixed on her. I certainly don't remember anything else. You know how it is sometimes at a show: You look around to gauge what the crowd reaction is... I can't explain it really, but you're either in disbelief or you're not sure at what your seeing. You're just not sure, and you want somehow to confirm these deepest suspicians. I know those moments well; but it didn't happen on this night. I don't think I was even physically able to look at anything else. I just watched. I witnessed her pour her heart out on stage. On this occasion, Mirah was largely blessed with the luxury of her band; steeped in strings, guitars, xylophones, drums, and accordian and a host of other instruments. But the best moments, the moments which I think captured her best, where when she played unaided. Just Mirah: her body hunched over the microphone, eyes tightly shut, her voice, and the microphone.
If the following song persuades anyone to delve into her back catologue then great. C'mon Miracle strikes with an almost impossible balance of fuzzy rockers, and plaintive tear jerkers; but more than that, if she plays anywhere near you, just go! You won't regret it.
Mirah - Don't Die On Me
[BUY THE ALBUM HERE]
Oh, and before you go: There is an interview with Sam Jayne (Love As Laughter) right here. I was reading it earlier and thought it might appeal to a few people. I've got to admit that I wasn't totally enamoured with Laughter's Fifth, but that records has definitely won me over recently. I suppose I wanted them to record another Sea to Shining Sea, but I don't know why - all of their records are completely different to each other. Anyway, check out the new album is what i'm saying.