Mirah

Mirah

Mirah Yom Tov Zeitlyn‘s voice is soft and pleasant, and at times, can sound as if she’s channeling Juliana Hatfield. But it’s Mirah’s unconventional lo-fi sound and incredible lyric writing that hold her music’s distinguishable mark.

Mirah’s unique, musical solo-catalog officially began with 2000’s You Think It’s Like This, But It’s Really Like This, a sixteen-track collection of unpolished gems, ranging from the starkly beautiful to strange amazement. The bass-line and thudding loop in ‘Of Pressure’ is a good example of the latter, as it creates a hypnotic backdrop to Mirah’s intentional monotone. ‘Sweepstakes Prize’ begins with considerably less fuzz, only to transform more than halfway through into a steady beat of percussion and guitars, possibly making it one of her most accessible songs.

Advisory Committee arrived in 2001 and followed the similar lo-fi sound that is heard on her debut. ‘Mt. St. Helens,’ is taken from here and features a single acoustic guitar strummed throughout, ultimately bringing in heavier sounding instruments which begin to slowly bubble up until it finally fizzing over.

Things seem slightly more cleaner in terms of production on C’mon Miracle, Mirah’s fifth album released earlier this year. In ‘We’re Both So Sorry,’ the listener will discover that Mirah hasn’t lost her lyrical talents. With phrases like, “You always seemed to lose that spark when I was only half-undressed…”, it’s difficult to deny Mirah’s power to draw the listener into her heartwrenched world.

While it’s arguable that Mirah’s music will probably not be listened to by people who prefer music done in the typical verse, chorus, verse format, it’s my guess that Mirah is establishing herself just the way she wants to – someone with her own voice and a story to tell.

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