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A B C D E F G H I J K L M N O P Q R S T U V W X Y
| Wolfgangsvault |
 It’s been nearly five years since Portland, OR nymph Mirah charmed us with her acclaimed C’mon Miracle. Although during that period she collaborated with Spectratone International on a full-length project called Share This Place, (a)spera is the true C'mon Miracle follow-up. (a)spera is a welcome and wonderful return to form that is haunting and subdued but so incredibly dynamic that it feels like both a warning and a message of hope for our perilous times. As always, with (a)spera, Mirah is ladylike with a quiet and surprising edge. She carefully applies powerful instrumentation to her sparse and organic songs, punctuating her points with horns and adding atmosphere to her ideas with strings. The lack of production on the album adds to the sincerity of its message—that, as its Latin title suggests, difficulties elevate us to a higher level of understanding....full text |
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| Drownedinsound |
Following three solo albums, a host of collaborations and a four-year hiatus which saw both remix and rarities collections drop, Mirah Yom Tov Zeitlyn returns with a fourth set as striking as anything she’s ever released – a seamless integration of emotional peaks and troughs of the sort she’s spent a career exploring.
Immediately apparent upon spinning (a)spera a first time is the sense of ambition on display. ‘Generosity’ – all stabbing, swooping strings, spacious percussion and myriad vocal lines – is a startling, addictive entrée that in a sense recalls her earlier ‘Cold Cold Water’; dramatic, multifaceted arrangements playing out their circular routes married to dreamily seductive yet commanding vocal turns. Amid a dizzying swell of instrumentation she might as well be whispering these musings into your auditory canal, such is their disarming nature....full text |
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| Thehurstreview |
| Scale and perspective: These are the dual concepts that inform Mirah’s craft, that form the aesthetic basis of every album she’s made. She manipulates them with the deftness and sleight-of-hand deception of a great photographer, creating music that’s big and complex and ambitious but sounds remarkably small and intimate and quiet. It’s a conceit she employed on her breakthrough record, Advisory Committee, a pop album that somehow sounded baroque and minimalist at the same time, layering pounding drums and furious strings on top of each other in elaborate arrangements but somehow sounding like Mirah was playing by herself in a little room, for an audience of only one. Ever since then, she’s been trying to whittle that aesthetic down to its purest, simplest form; on her last album, C’mon Miracle, she scale things down on the production side and focused more on traditional singer-songwriter trappings, resulting in an album that was just as intimate but a bit less striking than Comittee....full text |
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