Définitivement, cette chanson me change d'atmosphère par rapport à cet hiver insupportable! J'ai l'impression de ressentir la chaleur, l'atmosphère d'un soir d'été, mais d'être au moment d'un levé ou d'un couché de soleil, en train d'abandonner tout ce que j'ai en partant en voiture avec ma petite amie, les bras levés au dessus de ma tête alors que la voiture n'a pas de toit. C'est juste formidable de pouvoir faire ressentir des choses comme ça! Ca change de Stromae ahaha

Really excited to discover your stuff. Looking forward to more here!

Really nice voice & style.  I had been looking for years for similar vocal style to work with but sadly never found that type of vocalist.

Staring at the Ceiling

Sunday Drive

Nick Mulvey - Fever To The Form

MIRAH - 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 09 - La Jolla, CA @ The Loft @ UCSD
March 10 - Scottsdale, AZ @ The Western
March 12 - Austin, TX @ Cheer Up Charlie's (Terrorbird Day Party @ SXSW)
March 12 - Austin, TX @ St David's Bethel Hall (Official Showcase @ SXSW)
April 12 - Brooklyn, NY @ Supper Studio at the Centre for Social Innovation
More tour dates to be announced soon!

Radiomind

From the split single "Sun Has Gone/You Cant Put Your Arms Around A Memory"
Out November 2013 on Anti Records

Broken Twin - Sun Has Gone

Listen on Spotify- https://open.spotify.com/track/3rxWs7E95lHGWp9Zi8uWJa

Vocals // Katherine Smith
Drums + Keys // Luke Moellman
Guitar + Keys // Russ Flynn
Bass // Jordan Brooks

Written by Katherine Smith
Produced by Luke Moellman
Recorded at Old Soul Studios in Catskill, NY

Buy on iTunes

Lewis Lane - Low

Order: http://bit.ly/1lhkzoR

Album due October 28, 2014 

http://wearemysteries.com/

Mysteries - Newly Thrown

The Cold In You (feat. Soundmouse)

WOLFHOUR EP with remixes by Keep Shelly in Athens, Sun Glitters, Lambert, and Seekae.

www.dnkl.eu
facebook.com/DNKLmusic
twitter.com/DNKLmusic
instagram.com/dnklmusic
youtube.com/dnkloffical

Warm Dark Night

The Girl Who Broke My Heart

Hold me tight, never let me down

Buy Vinyl @ Cascine: bit.ly/1zT9t15
Buy @ iTunes: apple.co/1FiaIcE
Stream @ Spotify: bit.ly/1egDIFu
___

It’s Love is The Legends' fifth studio album. The record details a recent chapter in the life of Johan Angergård which saw him wrestle with issues of loss, love and identity. At the same time, a new relationship came crashing into his world, bringing with it both infatuation and anxiety.

With his internal life shifting, an abrupt creative streak spurred It’s Love in a matter of months. Not surprisingly, acceptance soon followed, and although no firm answers have yet revealed themselves, Johan’s struggle stopped, to which he says, “I don’t know if this all sounds a bit pessimistic. It shouldn’t. It’s a new start. There’s a lot of hope. There’s love.”
___

The Legends on FB: on.fb.me/1G064i6
Cascine on FB: on.fb.me/1EiBA6z

The Legends - Smoke And Mirrors

Another Four Sad Songs

sink or swim

Click for the new EP!

Layers (Live)

The Wild

little darling

I'm Gonna Be (500 Miles) - Sleeping At Last

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.”

Radiomind

Mirah

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