Is there any way we can get some more music, im really digging you, you have a beautiful voice. A super star in the making........🤔

 Private message me on Facebook. Ronnie Hyatt. Ive got 200 songs i want you to sing that i wrote.

Written and Produced by Gold Spectacles. Taken from the debut EP "Flaws and Visions".

Verse 1:
Something was burning on my tongue
And since I told you, I only want to run
So I'm dusting off my suitcase
Facing what's now due
Tying up my bootlace
So I can run to you
Dusting off my suitcase
Facing what's to come
Tying up my bootlace
Girl you're the only one and...

Chorus:
And I'll steal you away
All my decisions now you have made
You'll smile and you'll understand
All our possessions, we'll keep them at hand

Verse 2:
Sunday mornings felt so low
Until I met you, then the feeling seemed to go
The days flash forward when you're around
Lonely nights still drag on in silence that's so profound
So I'm waking up real early
Checking my clock for the time
Wondering if you gonna get here
Before the final chime
Dusting off my suitcase
Facing what's to come
Tying up my bootlace
Girl you're the only one and...

Chorus:
And I'll steal you away
All my decisions now you have made
You'll smile and you'll understand
All our possessions, we'll keep them at hand

Middle 8:
We'll keep them at hand
I'll steal you away

Chorus:
I'll steal you away
All my decisions now you have made
You'll smile and you'll understand
All our possessions, we'll keep them at hand

Buy on iTunes

Steal You Away

From the album CHANGING LIGHT out May 13, 2014 on Absolute Magnitude Recordings

Pre-Order the album here:  http://www.mirahmusic.com/changing-light
Visit www.mirahmusic.com for tour dates and more!

On her fifth solo album, Mirah breaks it down and builds it back up again with the street smarts that only years behind the wheel of love can inspire.  Ready with the maps and driven to the rhythms on the radio dial, Changing Light’s ten songs carry us from heartbreak to wholeness and all the places in between.

Uprooted from her home after a scorching break-up, Mirah spent four years rambling and recording.  Tracks were laid down in almost two dozen houses and apartments — from the Northwest to Southern California to the East Coast. Sparse demos were recorded with co-producer Christopher Doulgeris in Portland and Los Angeles.  Embellishments were then added by a slew of friends and collaborators, including Greg Saunier (Deerhoof), Mary Timony, Emily Wells, and Heather McEntire (Mount Moriah).  In Philadelphia, Mirah and her sister Emily Zeitlyn (Divers) penned “LC,” an homage to childhood inspiration Leonard Cohen.  Seattle-based composer Jherek Bischoff drew up intricate string arrangements which were recorded in the living rooms of each individual player.  And Tune-Yards producer Eli Crews co-produced several tracks with Mirah in her new hometown of Brooklyn, New York.

Changing Light’s reassuring compass is found in Mirah’s shimmering vocals and incisive descriptions.  There is yearning (“Gold Rush” and “Fleetfoot Ghost”) and hot anger (“Goat Shepherd”), but no shortage of lyrical and musical playfulness. Whether it be the T. Rex-inspired rough edges of “Radiomind,” the rollicking lo-fi bang-and-pop of “Goat Shepherd,” or the lush pop balladry of “Turned the Heat Off,” the album corrals string sections and vintage synths with horns, a multitude of guitar tones and overdriven drums.  With calm and clamor, Mirah brings us all closer together through her universal honesty and occasional use of the vocoder.

“It’s a break-up record.  It has some moments of darkness, some twists and turns, but ultimately, there’s a resolution,” says Mirah.  "So much can happen in four years, even forgiveness.”

While Mirah has been making independent pop records for well over a decade, Changing Light is the debut release on her new imprint, Absolute Magnitude Recordings.

Mirah’s Changing Light is out May 13th on Absolute Magnitude Recordings with support from K Records.

2014 TOUR DATES:
March 06 - San Francisco, CA @ Brick & Mortar Music Hall
March 07 - Oakland, CA @ The New Parish
March 08 - Los Angeles, CA @ The Satellite
March 10 - Scottsdale, AZ @ The Western
March 12 - SXSW
More tour dates to be announced soon!

Oxen Hope

Art of Sleeping - Crazy (Tom Scary Remix)

Petrol Station Music Video: https://www.youtube.com/watch?v=XS9s_Ia_iCI


Produced by @bailemusic 
Recorded by Gian Stone 
Mixed by Gian Stone and Harper James
Mastered by Anthony Scott DePerto 
Artwork by Shane Gormley


Lyrics:

We stayed up late to watch a movie
April fools I think a Tuesday
Spring had just arrived
And so our clothes were hanging loosely

We stepped outside
To the old petrol station
Out of nowhere started raining
Kinda suited the occasion
Reminded me of when we spent our whole summer vacation
Two thousand eleven
Sleeping in my basement
Looking back I think that we just spent those 2 weeks wasted
Some side of love we tasted
You find your love you chase it

If I, If I never told you
That I wanna hold you
That I wanna hold you
I just wish it was old news
If I, If I never told you
That I wanna hold you
That I wanna hold you
I just wish it was old news

By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt
By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt

We stayed up late to watch the day arrive
Lucky number 25
Take a minute 
Just to live it
And that's when you'll realize
Every now and then 
The worst week makes the best weekend
And everything is better
Because I'm with all my friends
Some suburban kids just getting drunk out in the garden
Sitting by a swimming pool
With the best dressed kid from Harlem
Grass stains on my shoes
My rib cage is bruised
But that side of love we tasted 
You find that stuff you chase it

If I, If I never told you
That I wanna hold you
That I wanna hold you
I just wish it was old news

If I, If I never told you
That I wanna hold you
That I wanna hold you
I just wish it was old news

By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt
By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt

I'm not holding out For anything better
Can we just stay here forever? Can we just stay here forever?
I'm not holding out For anything better
Can we just stay here forever? Can we just stay here forever?
I'm not holding out For anything better
Can we just stay here forever? Can we just stay here forever?
I'm not holding out For anything better
Can we just stay here forever? Can we just stay here
Cause I should have told you

By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt
By now,
Cause you're coming over to my house
You're coming over to my house
Red eyes don't get rid of your doubt

Sorcha Richardson - Petrol Station

"..there is always soma, delicious soma, half a gramme for a half-holiday, a gramme for a week-end, two grammes for a trip to the gorgeous East, three for a dark eternity on the moon..." Brave New World

Soma Days

Available now via South By Sea Music

iTunes: https://itunes.apple.com/us/album/plastic-flower-ep/id1050851337

Spotify: https://open.spotify.com/album/20QHy6C0YdSKt8pkiQyG3H

www.ofeliak.com
www.southxsea.com

As A Bell

From the album 'Virtual Islands' out Friday 05 August
Released by: Alsatian

Life

Looking For Knives

Floating Harmonies

Júníus Meyvant - Signals

Debut album 'So Long and Thank You' out now - awal.lnk.to/myWey

Produced & Mixed by Catherine Marks
Mastered by John Davis 
Artwork by Tim Voeten

wearefairchild.com
facebook.com/wearefairchild
twitter.com/wearefairchild
instagram.com/wearefairchild

So Long and Thank You

I Suppose

In the last months of the 1990s, in the years after she graduated from Evergreen, Mirah would regularly walk from her apartment on 4th avenue in downtown Olympia five minutes up the block to her friends’ place, the Track House. On one such occasion, she holed up in their garage all night long with her four-track cassette recorder and their broken, out-of-tune piano. “It’s a small town,” she sang, over crackly, creeping keys. “I’ll see you around...I wish you’d move.” 

It’s sweet but sharp, like much of her expansive, decades-long catalog of beaming pop songs. And it’s apt intro to the songs she was writing around that time, all laced with snapshots from small-town Oly: the railroad tracks that run through town, transient friends who’d come and go on tour, the feeling of being a million miles from the city. 

“I didn’t know I was making a record,” recalls the singer, songwriter, recording artist and producer, twenty years later, on the brink of the reissue of her now classic debut full-length, You Think It’s Like This But Really It’s Like This, released in 2000 by K Records. It was just that freedom, following her first couple of EPs and tours, that made the record gleam with possibility: the excitement of beginnings, of unfiltered long-distance longings, the miniature everyday epiphanies of becoming yourself. 

When it was written, Mirah was in her early 20s, immersed in a life of cheap rent, constant art-making, “distracting [herself] with the guitar and microphones” (as she sings on the album) and helping to run DIY cafes like the Secret Cafe at the Track House and the Red Horse Cafe out of her own apartment. Some days, she’d be at home experimenting with four-track home-recording. Other days, she’d be over at Dub Narcotic’s giant warehouse space, in its wide open second floor studio, the Big Room, meeting up with friends like Phil Elverum (who she had collaborated with in The Microphones, and who co-produced the record), Khaela Maricich (of the Blow, who sings on some of the songs), and really, whichever cast of friends were around and wanted to play music. 

“Calvin had incredible equipment and was so generous and trusting,” Mirah reflects, mentioning vintage gear like an old Hammond B3 organ with a Leslie speaker used on “Of Pressure”. “He gave us all keys. Sometimes we’d go in there to record and Arrington [de Dionyso] would be asleep on a mattress on the floor because he had been recording all night. We didn’t even have a schedule. We were all involved with each other’s projects. If I needed a choir, we’d just call everybody up and they’d walk over. And a couple minutes later, 10 friends would be there.” 

Elsewhere, there’s also one of indie pop’s most sweeping and visceral crush songs, “Sweepstakes Prize,” a perfect encapsulation of Mirah and Elverum’s collaborative ability to build sparse minimalism into clattering noise, to make the tension of the lyrics utterly inescapable. For its hooky drumbeats, Elverum set up two kits on opposite ends of the room. “We both played drums at the same time,” Mirah remembers. “And had them mic-ed so that it gave a natural room delay. We just had a lot of fun.” (It was written about the same person as “Small Town,” she recounts, laughing, a testament to the album’s rollercoaster of emotions.)

Two decades later, You Think It’s Like This... brims with timelessly necessary feelings: of dreaming in the moment, of not having expectations, making art because it’s fun, unsupressable exuberance even when the songs are not joyful. “I just hope people can get there again,” Mirah says. “My biggest hope with making music is that the music I make can do for other people what all the music I’ve listened to in my life has done for me. It helps me be alive. It helps me be a person. It helps me feel things. It helps me connect to myself and to other people.”

Oxen Hope

Mirah

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