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Editor's note: We have activated the Neumu 44.1 kHz Archive. Use the link at the bottom of this list to access hundreds of Neumu reviews.

+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
+ Growing - Color Wheel
+ Red Carpet - The Noise Of Red Carpet
+ The Essex Green - Cannibal Sea
+ Espers - II
+ Wilderness - Vessel States

44.1 kHz Archive

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C'mon Miracle

Mirah Yom Tov Zeitlyn's recently broken her artistic banks, flooding her discographical landscape with assorted recordings — an in-a-mountain-cabin collaboration with Ginger Brooks Takahashi called Music From the Black Mountain Music Project, a covers-collection collaboration with the Black Cat Orchestra called To All We Stretch the Open Arm — that fans have gladly gleaned, as means for tiding over time until her Advisory Committee follow-up sailed on to the scene. Such a follow-up floats in in the form of C'mon Miracle, the latest and (yes!) greatest work from a songsmith whose résumé may remain underground and unknown for not too much longer. Google may ask "Did you mean: Mariah" when you type in her name, but Mirah is a diva only in the "great woman singer" (and not the prima donna) sense; the sweetly-singing K Records heroine has the sort of voice that communicates a wealth of emotion through a reduction in volume and voracity; her singing tends towards whispery intimacy where it has the chance. That she finds subject matter to match that delivery is what makes Mirah's music profound; and, even as C'mon Miracle shows her to be more worldly — "The Dogs in Buenos Aires" personalizing the Spanish frolickings of "To All We Stretch the Open Arm," and, more notably, "Jerusalem" offering a savage critique of the Israeli nation that'd likely get dubbed as "anti-Semitic" if it wasn't authored by a Jew — it's still the openly-personal moments that mark Mirah's art as great. This disc's literal and aesthetic centerpiece is “We're Both So Sorry," which begins with her quiet voice left largely naked, dressed only in insufficient thrums of autoharp, the auspicious opening leaving Mirah standing exposed, singing: "I know you didn't mean it, and you're sorry that I left/ I'll go right on pretending I've got nothing to regret/ Except all of the times we wasted giving only second best/ You always seemed to lose the spark when I was only half-undressed." From there, her voice gently rises in tenor, whilst held trumpet notes and gentle flecks of guitar begin to gather before the song then shifts into a middle section of guitar-playing, smothered bass drum, and whispery, slightly-out-of-time multi-tracked vocals, before shifting, again, towards a conclusion where Mirah's voice strains to bridge a performative gap between whispering and hitting high notes, such contrasting crackingly with a bustling rhythm fashioned from crackling contact-mic feedback and guitar-led static. It's no surprise that such idiosyncratic production work comes from Microphones/Mt.Eerie maestro Phil Elvrum, the longtime friend/collaborateur whose role in Mirah's records has, previously, seemed to be a little overvalued. Perhaps this is why Mirah went wandering, not just to Argentina and to North Carolina, but in her discography, off to find herself by venturing far from herself. Having spread her bloody wings, she's returned to the K Recs nest, and her songbird's voice has never sounded more beautiful than it does here.

by Anthony Carew

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