For the last decade Lo-Fi goddess Mirah has been making music much on her own terms, requiring little more than a 4-track and minimal production assistance. However it wasn’t until 2004, when taking on the wild throws of the road with her small backing band, that Mirah truly began making her name known to the musical world outside of Portland, Oregon. Her quirky presence, blended with sweet catchy melodies, made her a quick favorite among the heartland indie scene. Her latest release (A)Spera marks the end of a four year hiatus by the singer, who had spent the time collaborating, remixing and retooling old material. As the old adage goes, the best things are worth waiting for. And to my ears (A)Spera it was definitely worth that wait.
Nothing proves to be a better sign of musical evolution when an artist makes a great leap forward while still keeping that first familiar foot back. On (A)Spera, Mirah compiles a beautifully scored mix of standalone solo tracks with full band numbers. Having made her name largely as a solo artist, there is no doubt she is still that, but in recent years, Mirah has come to understand that the more colors you add to a portrait, the more attractive it becomes. Such is the case in the album’s phenomenal opener “Generosity.” Lead by a small army of strings, this is a track that instantly stood out, and has remained as one of my favorites on the album. The quirked rhythms of violins not only form the melody but also the basis of the song’s beat, with their smooth tones contrasting well to Mirah’s delicate, albeit scratched voice. “Generosity” would have been an enormous hit, had it found its way onto a more radio friendly artists’ album (Regina Spektor perhaps?). Mark my words.
“Shells” is a tried and true example of Mirah’s ability to carry a song with little more than her voice and single instrument - in this case probably a dulcimer. Listening with your eyes closed, the finger-picked strings actually help to form the landscape of your own private beach in the mind’s eye, complete with seashells lining its sandy shores. If this sounds ridiculous, so be it, but you should try it yourself if you don’t believe me.
On (A)Spera, Mirah’s varied musical influences are apparent, their roots forming the basis of almost every song. There is perhaps no better example of this than on “Country of the Future.” Utilizing what can best be described as Latin Carnivale rhythms, this track is heavily lined with percussion and a liveliness that help keep (A)Spera from becoming mired in one particular sound. Some of the lyrics are also worth noting, one of my favorites being the line, “…and if you need some part of me when you’re alone and by the sea I’ll sing you this message through the shell that you press to your cheek.”
The record’s soft closer, “While We Have the Sun” in many ways encompasses all the best qualities of the (A)Spera. The song’s solo chimes illustrate the blending of Mirah’s independent solo roots with a willingness to expand her sound to almost anything. Upon first listening, I tagged this song as a bit too reminiscent of Björk, but the more I hear it, the less I hear Björk and the more I hear Mirah. It’s a most fitting end to the album as she croons, “Lets take the time to walk together while we have the sun,” as though it will set when the song is over.
With a supporting spring tour soon to start, Mirah is further priming herself for what looks to be perhaps the most successful year of her career. This is of course due in no small part to (A)Spera, an album that shows in its wide pallet of colors where Mirah has come, where she is now, and even offers up a glimpse of where she may be in the future. Of course, if (A)Spera is any indication, Mirah’s future could find itself going any one of a million ways, all of which are pleasing to my ears.
Track List
1. Generosity (3:44)
2. The World Is Falling Apart (5:00)
3. Education (5:18)
4. Shells (2:32)
5. Country of the Future (3:35)
6. The Forest (3:30)
7. Gone Are the Days (3:41)
8. The River (7:49)
9. Bones & Skin (3:12)
10. While We Have the Sun (4:41)
Links
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