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Mirah (born Mirah Yom Tov Zeitlyn) is an American musician and songwriter based in Brooklyn, New York. After getting her start in the music scene of Olympia, Washington, in the late 1990s, she released a number of well-received solo albums on K Records, including You Think It's Like This but Really It's Like This (2000) and Advisory Committee (2002). Her 2009 album (a)spera[1] peaked on the Billboard Top Heatseekers chart at No. 46,[2] while her 2011 collaborative album Thao + Mirah peaked at No. 7.

She has released eleven full-length solo and collaborative recordings, numerous EP's and 7" vinyl records, and has contributed tracks to a wide variety of compilations. Mirah has collaborated with artists such as Phil Elverum of The Microphones, Tune-Yards, Susie Ibarra, Jherek Bischoff and Thao Nguyen.

Her style encompasses indie pop, acoustic, and experimental pop. According to The Rumpus in 2011, "Mirah's early records...are DIY mini-masterpieces that express a punk sensibility through broken drum machines, reverb-drenched guitars and ukulele. Her more recent albums...are mature, complex and immaculately-produced."[3]

On July 31, 2020, Mirah released a 20 Year Anniversary Reissue of her germinal album, You Think It's Like This But Really It's Like This via Double Double Whammy. The double LP reissue includes a remastered version of the record as well as a tribute to the album that features covers by Mount Eerie, Half Waif, Hand Habits, Palehound, Shamir, Sad13 (Sadie Dupuis), Allison Crutchfield (of Swearin') and more. The Fader premiered the reissue record and wrote, "the LP established Mirah as one of the smartest and most exciting young artists in America. It also went on to inspire a new generation of indie musicians, drawn in by Mirah’s deft and introspective songwriting..."[4]

Early life, education

[edit]

Mirah Yom Tov Zeitlyn[1] was born on September 17, 1974, in Philadelphia, Pennsylvania, the youngest of three children.[5] Her mother is a painter and massage therapist and together with her father ran a small natural foods bakery throughout Mirah's childhood and adolescence. Her father worked delivering Rolling Stone magazine for several years in the late 1970s. Her parents raised the family on macrobiotic foods.[6] Her father was an avid music lover with a large record collection[7] and Mirah developed an early interest in music.[1] As a child, she listened heavily to Motown, 1960s R&B, soul music, and folk music.[7]

Mirah's family moved a number of times between 1974 and 1979, including a stint on a hippie commune near Spencer, West Virginia[6] and several years in a rural Pennsylvania farmhouse adjacent to the farm owned by her extended family.[8] The family moved to Bala Cynwyd, a suburb of Philadelphia, in 1979.[9] Her mother's family identifies as Protestant and her father is Jewish.[9] Mirah was raised observing Shabbat and identifies as Jewish.[10]

Mirah took part in a number of anti-nuclear walks during her middle school and high school years, including a 6-week stretch of the 9-month cross country Great Peace March for Global Nuclear Disarmament in 1986 when she was 12.[11] In middle school she developed a love of 1980s pop music and female artists such as Sinéad O'Connor and Cyndi Lauper.[7] By the time she got to college, her music collection had expanded to include a diverse range of artists[6] (Huggy Bear, Cat Stevens, The Pretenders, Nina Simone, etc.).

Music career

[edit]

Start in Olympia (1990s)

[edit]

After graduating high school early at 16, Mirah spent a year traveling[12] before moving to Olympia, Washington, in 1992 to attend the Evergreen State College.[13] She taught herself guitar and wrote her first song as an assignment for class.[14] While in college she worked at a collectively run vegetarian campus café with Kimya Dawson, who later became her label-mate at K Records.[citation needed]

She was a member of the short-lived all-female Olympia band The Drivers with Molly Burgdorf and Sarah Reed.[15] For a short stint she sang with a swing band and occasionally contributed vocals to an early incarnation of Old Time Relijun. She was briefly the drummer for The Chosen, a Jewish heavy metal duo. In 1996 she began developing her own musical style, composing lo-fi indie pop with vocals and acoustic guitar. Her early style drew comparisons to Liz Phair, and she soon began performing around Olympia under the one-name moniker Mirah.[1]

Mirah was involved with a number of "secret cafes" in Olympia, including The Red Horse Cafe which she and her roommate Ariana Jacob ran out of their one bedroom apartment. The Red Horse Cafe served a different menu every Sunday for a year and a half in 1998/1999. The Red Horse Cafe appears in the documentary short 9 Weeks.[16] She was also involved with several large scale theatrical productions including The Transfused,[17] a 2000 rock opera written by Nomy Lamm and The Need.

Though surrounded by the local riot grrrl movement of the 1990s, Mirah didn't explicitly associate herself with the genre.[12]

After graduating from the Evergreen State College in 1996, she began experimenting on her 4-track recorder with sounds that would be used on her debut album.[9] Her first EP Storageland was released on Yoyo Recordings in 1997[5] and received a positive review in Allmusic.[18] The 6 song one sided 12" featured an etching on the B side by artist Nikki McClure. According to Laura Leebove in Venus Zine, listeners were "drawn to the unpolished sound...with its sometimes muffled vocals, raw guitars, and background-noise cracklings."[19] In 1999 she self-released a second EP titled Parts of Human Desire. The bulk of her first records were recorded at the Dub Narcotic studio space in Olympia Washington.[17]

Olympia musician Phil Elverum soon invited her to contribute guitar and vocals to his psychedelic pop group The Microphones, and she performs on many Microphones recordings including Don't Wake Me Up (1999) and Window (2000).[1] She later toured extensively with The Microphones across the US and Canada.[1] According to The Rumpus, Mirah "was part of the K Records renaissance [of the late '90s] along with bands like The Microphones, The Blow and Old Time Relijun – all highly distinct, idiosyncratic groups with Calvin Johnson's influence perhaps manifesting in the form of a primitivist or intentionally naïve approach."[3]

Early albums (2000–2005)

[edit]
You Think It's Like This but Really It's Like This (2000)

Mirah joined the Olympia-based label K Records in 1999.[5] Her full-length debut and first album on the label, You Think It's Like This but Really It's Like This, was released on June 6, 2000. Produced by Mirah and Phil Elverum, it scored 4/5 stars from AllMusic, who called it "a masterpiece of lo-fi beauty" and praised "Mirah's wistful voice and intimately personal lyrics."[20]

Small Sale EP (2001)
Phil Elverum produced or co-produced many of Mirah's early recordings.

Small Sale EP is a 2001 album by Mirah released on Modern Radio Records.[21] Songs were recorded from 1999 to 2001 at Mirah's house and the recording studio Dub Narcotic,[17] all while Mirah was still touring for her previous album. It was positively received by Allmusic, who compared Mirah's vocals to Lucinda Williams and called her voice "intoxicatingly endearing, as are the electronic beats and textures she uses as deftly as she does a ukulele or acoustic guitar."[21]

Advisory Committee (2002)

Mirah's second full-length album was recorded over a one-year period, starting on September 17, 2000, and ending on July 4, 2001, and was produced by both Mirah and Phil Elverum. Advisory Committee was released on K Records on March 19, 2002, and was well-received, earning an Allmusic score of 4.5/5[22] and a Pitchfork Media score of 8.3/10, who praised the maturity of her voice and lyrics.[23]

Cold Cold Water EP (2002)

Mirah's Cold Cold Water EP was released on March 19, 2002, on K Records.[24] It received a positive review in Pitchfork, who praised the title track, stating "the song is deadly serious, dark, and full of the kind of not-so vague sexual innuendos we've come to expect from Mirah. Then, Phil Elverum's panoramic, Morricone-esque production technique explodes onto the soundstage." Pitchfork called the other three tracks "admirable bedroom folk."[25]

Songs from the Black Mountain Music Project (2003)

Songs from the Black Mountain Music Project is a collaboration between Mirah and Ginger Brooks Takahashi. It was written by Mirah and Takahashi in a secluded house in the Blue Ridge Mountains in 2002, and recorded using a Tascam four-track and a mini-disc recorder. According to Allmusic, "the chirping birds, lonesome train whistles, and buzzing insects that pop up throughout [the album] make it feel like a collection of audio postcards from Takahashi and Mirah's vacation." K Records released the album on August 19, 2003.[26]

After living in Washington state for about ten years, Mirah moved to Portland, Oregon[7] around early 2004.[9]

To All We Stretch the Open Arm (2004)
Mirah in 2004.

Performed by Mirah and the Black Cat Orchestra, To All We Stretch the Open Arm is a collection of political songs by a variety of songwriters. Songs include covers of artists such as Fausto Amodei, Bob Dylan, Leonard Cohen, Kurt Weill, Bertholt Brecht, Horacio Guarany, and Stephen Foster, and several original songs by Mirah as well. Recorded in Seattle in early 2003, it was released on Yoyo Records in 2004 to a positive review in Allmusic[27] and a mixed review from Pitchfork.[28] According to Allmusic, "While the album certainly addresses war and oppression with an appropriately somber tone, To All We Stretch the Open Arm doesn't lose sight of how important passion and wit are to any good protest."[27]

C'mon Miracle (2004)

C'mon Miracle is Mirah's third full-length solo album.[29] Several of the songs on C'mon Miracle reflect her experience visiting South America, specifically Buenos Aires, Argentina.[9] The two songs recorded in Buenos Aires were co-produced with Mirah's long-time collaborator Bryce Kasson, also known as Bryce Panic. The rest of the tracks were co-produced with Phil Elvrum. The album was released on K Records on May 4, 2004, to a positive reception,[30] earning "Best New Music" and a 8.5/10 rating from Pitchfork.[31]

She released a music video for the C'mon Miracle single "Don't Die in Me," which was created by Tara Jane O'Neil and Kristina Davies and features animated drawings and paintings by O'Neil.[32]

Collaborations (2006–2008)

[edit]
Joyride: Remixes, 2006

Joyride: Remixes is a double CD containing remixes of Mirah's material by K Records artists, such as Guy Sigsworth, Anna Oxygen, Tender Forever, Yacht, Mount Eerie, Khaela Maricich, Lucky Dragons and Electrosexual. Released by K Records on November 21, 2006, the album was positively received, scoring 3.5/5 from Allmusic[33] and 3/5 from Tiny Mix Tapes.[34]

Mirah's music is featured in the 2006 documentary, Young, Jewish, and Left.[15] Around 2006 she began working with Portland-based musician Tara Jane O'Neil, with O'Neil joining Mirah's live band and co-headlining a tour to Europe.[9] Mirah played at the Sasquatch Festival in the summer of 2007.[17]

Share This Place: Stories and Observations
Mirah at the Rio Theatre, Santa Cruz, Jan. 2008

Released on K Records on August 7, 2007, Share This Place: Stories and Observations is a collaborative album between Mirah and Spectratone International (Lori Goldston and Kyle Hanson, formerly of the Black Cat Orchestra).[35] The subject matter revolves around the lives of insects, and the album was inspired by the writing of 19th century entomologist and poet J. Henri Fabre, as well as The Insect Play by Karel Čapek. Stop motion films by Britta Johnson were also a part of the project. According to Allmusic, "[the songs] are intricate and beautifully made, giving a larger scale to the big events in these tiny lives – birth, death, mating, eating, sacrifice, survival – while keeping the details that make them fascinating."[36] As of September 2008 she was touring and performing with Spectratone International, playing a string of gigs on the west coast.[11]

In 2008, she had an essay published in the book Rock 'n' Roll Camp for Girls.[14]

The Old Days Feeling, singles

The Old Days Feeling is a collection of out-of-print, reissued, and unreleased songs by Mirah,[37] featuring collaborative work by Phil Elvrum and Calvin Johnson of K Records.[38] In the genre of indie rock and recorded in a lo-fi style, it was released on Modern Radio Records on July 15, 2008,[37] to a positive reception.[39] Pitchfork Media gave it a score of 7.5/10,[38] while Tiny Mix Tapes gave it 3.5/5.[40]

In July 2008 her song "The Garden" was featured in the TV show So You Think You Can Dance. The song, which had been previously released on her 2002 album Advisory Committee, also charted at No. 45 on the US Top Heatseekers song chart, reaching No. 31 on the same chart in Canada.[41]

Live performances, touring

[edit]

Between 1998 and 2009 she toured extensively, mostly in the US and Canada with smaller stints in Europe and Japan, all within a network of underground and DIY spaces and promoters. These shows would happen at house parties, all-ages spaces and small clubs. She performed at Ladyfest in Seattle, Philadelphia, London, and Amsterdam,[42] as well as at several Yoyo A Go Go festivals.[43][44] In 2009 she started working with the Billions booking agency.

Recent releases (2009–present)

[edit]
(a)spera, touring (2009)

(a)spera, the title of Mirah's fourth full-length studio album, released on March 10, 2009,[45] is a play on the Latin words for hope and difficulty.[9] It was her first solo album after a four-year hiatus spent working on collaborations and remixes of previous albums.[46] As with many of her previous releases it was co-produced by Phil Elverum and released on K Records.[45] She also worked with Grammy-nominated producer Tucker Martine on 4 of the tracks.

The album peaked on the Billboard Top Heatseekers chart at No. 46,[2] and received largely positive reviews.[47][48][49][50][51] PopMatters praised Elverum's production, stating, "The musical marriage of Mirah and Elverum is one of those rare perfect meeting of the minds—Jay-Z and Kanye, Butch Vig and Kurt Cobain...through the intelligent production of Elvrum...she is able to set her thoughts upon soaring mountains of musical genius."[50]

As of May 2009 she had toured both the US and Europe in support of the album,[9] and she moved to San Francisco in November of that year.[7] Her 2010 music video for "The Forest" (from (a)spera) was directed by Lauryn Siegel[52] and has choreography by Faye Driscoll[53] and photographed by Ava Berkofsky.[54]

Thao + Mirah (2010)

In early 2010, after performing with singer-songwriter Thao Nguyen at the Noise Pop Festival in San Francisco, the two announced a 2010 North American tour, billed under the name Thao and Mirah with the Most of All.[55] They performed a collaborative set and shared vocal duties on each artist's respective songs. They subsequently recorded a full-length album of original material called Thao + Mirah. Produced by musician Merrill Garbus of the band Tune-Yards, the album was released by Kill Rock Stars on April 26, 2011 (2011-04-26).[56] It was well received by music critics;[57][58][59] according to Pitchfork, "everything on Thao & Mirah feels of a cohesive collaborative piece, separate from either artist's solo work, a combination that synthesizes their individual strengths to outstanding effect."[58]

The two toured in support of the album[60] while working with Air Traffic Control, an organization that provides artists a platform for social activism.[61]

2010–present

She released a solo EP Don't/The Tears That Fall EP in 2010 as a vinyl single on Mississippi Records. Also in 2010 her track "Engine Heart" off You Think It's Like This but Really It's Like This was used in the soundtrack for the romantic comedy Love & Other Drugs. In October 2011 her song "Special Death" was featured in the TV show American Horror Story.

Mirah in 2011.

Her 2011 release of the digital single "Low Self Control" was produced by Christopher Doulgeris[62] and the accompanying video was by Doulgeris and Aubree Bernier-Clarke.[63][64]

She began living part-time in Brooklyn in October 2012,[65] moving there full-time in the fall of 2013.

Mirah co-wrote a song called "The Nest" which appeared on Jherek Bischoff's 2012 album Composed,[66] and she has performed that song and others with various ensembles in Seattle and New York City, including The Wordless Music Orchestra and Contemporaneous. Mirah and Bischoff first performed "The Nest" (and several of Mirah's songs which Bischoff arranged for orchestra) live at the 2012 Ecstatic Music Festival in NYC with notable vocalists including David Byrne,[67] and again at St. Ann's Warehouse in Brooklyn in 2014.[68]

As part of the "Portland's Indies" series, she had a 2013 performance with the Oregon Symphony.[69] She also wrote a piece collaboratively with percussionist and composer Susie Ibarra, which they debuted at the 2014 Ecstatic Music Festival (NYC). The opera piece is titled "We Float," and according to the Kaufman Music Center, is about "exploring the substance and ethereality of spacewalks, sound and the human experience."[70]

Changing Light (2014)

Changing Light, was released on May 13, 2014. Changing Light features guest appearances by Mary Timony, Deerhoof's Greg Saunier, Jherek Bischoff, Emily Wells and Heather McEntire.[71] Bischoff wrote the string arrangements for many of the tracks.[66] Changing Light was released on Mirah's imprint, Absolute Magnitude Recordings, in collaboration with K Records.[71]

Glide Magazine gave it 9/10 stars, stating the album "covers a lot of earthly ground, from animals to nature and seasons...Light deals with being in transition on deep levels, confronting mortality in fascinating ways." The review described her vocals as "gauzy, but never thin, and this time around she sounds a bit world-wearier. But it works for her, adding a smoky sultriness, and subtle imperfections that make each song rawer because of it."[72]

Sundial EP (2017)

Mirah's project, Sundial EP, was released on October 6, 2017, on her imprint label Absolute Magnitude Recordings. In another beautiful collaboration with Jherek Bischoff, the Sundial EP reworks six songs from Mirah's back catalogue with the addition of the EP's title track Sundial. "Both airy and thoughtful, "Sundial" stretches heavenward with rising strings and Mirah's voice at its most ethereal as it describes a cluster of ancient beings watching from everywhere in the universe at once—stars, urging the people on their orbiting planets to make their own happiness" [73]

Understanding (2018)

On September 7, 2018, Mirah released her 2nd full-length album on her imprint label Absolute Magnitude Recordings, "Understanding". The 10-track record stems from demos recorded during Mirah's time in residency at the Headlands Center for the Arts in Northern California. Mirah returned to New York and fleshed out the rest of the album with frequent collaborators Greg Saunier (of Deerhoof) and Eli Crews (Tune Yards, Julie Ruin).[74] Mirah released four singles to accompany the album - "Hot Hot", "Information", "Lighthouse", and "Ordinary Day". She also released a music video for "Lake/Ocean", which follows Mirah on her journey through the Alaskan Inside Passage, confronting her fear of water and darkness.[75] The album's first track, Counting, is featured on the TV show Veronica Mars.[76]

All Music calls it "a commanding and confident collection of songs that blends the confessional with the celebratory. Much more shimmering and robust than earlier lo-fi albums...Understanding doesn't shy away from layered vocals, synthesizer flourishes, and big crescendos."[77] NPR included Understanding on its list of 'Eight Albums You Should Hear Now" on its release day.[78]

You Think It's Like This But Really It's Like This: 20 Year Anniversary Reissue (2020)

On July 31, 2020, Mirah released a deluxe reissue version of her seminal LP, You Think It's Like This But Really It's Like This, via Double Double Whammy. The original record was remastered by Josh Bonati and the double LP includes a full tribute album featuring more than twenty contributing artists. Many of the artists have been longtime collaborators of Mirah's, such as Mount Eerie and The Blow, and many newer artists inspired by Mirah's catalog, including Half Waif, Shamir, Palehound, Mal Blum and more.

Style, equipment

[edit]
Mirah with her Gibson guitar in 2009

As a vocalist, songwriter, and experimental pop recording artist, Mirah typically works independently while songwriting, though frequently collaborates as a recording artist. In 2007, she began writing collaboratively for the first time with Spectratone International.[65]

According to The Rumpus in 2011, "Mirah's early records...are DIY mini-masterpieces that express a punk sensibility through broken drum machines, reverb-drenched guitars and ukulele, singing with frank sexuality in an occasionally child-like voice. Her more recent albums...are mature, complex and immaculately-produced."[3]

She primarily plays guitar and also has guest musicians accompany her live and on records. According to Mirah in 2008, "I play the same guitar as I did when I first started out. I only own two guitars, my Gibson and a little acoustic...So for me, the simpler the better onstage. Just me and my guitar, and sometimes just me and my voice, my favorite instrument."[17]

Mirah's ever-evolving live band has included friends and artists such as Bryce Kasson, Tara Jane O'Neil, Rachel Blumberg, Melanie Valera, Alex Guy, Andrew Maguire, Lisa Schonberg, Lori Goldston, Emily Kingan (Lovers), Christopher Doulgeris, Maia MacDonald and many others.

Personal life

[edit]

As of 2014 Mirah is based in Brooklyn, New York. Her older sister is Emily Ana Zeitlyn of The Weeds and Divers.[79] Her partner is film-maker Todd Chandler.[80] On September 5, 2018, she announced that she and her partner were pregnant with their first child. Mirah has been out as queer throughout her professional career.[81][10]

Mirah identifies as Jewish. Her "most Jewish" song is "Jerusalem", originally written for a Hanukkah compilation album. The song criticizes Israel's treatment of Palestinians. In addition to the song "Jerusalem", she has criticized Israel in interviews and social media. She has stated: "the violence that’s perpetrated against Palestinians—the whole situation is just like, how could we do that?"[10][82][83][84][85]

Publishing history

[edit]
  • 2008: Rock 'n' Roll Camp for Girls – essay included[14]

Filmography

[edit]

Discography

[edit]

Solo material

[edit]

Studio albums

[edit]
List of studio and live solo albums by Mirah
Year Album title Chart peaks Release details
Heat[86]
2000 You Think It's Like This
but Really It's Like This 		—
  • Released: June 6, 2000
  • Label: K
  • Format: CD
2002 Advisory Committee —
  • Released: March 19, 2002
  • Label: K
  • Format: CD, digital
2004 C'mon Miracle —
  • Released: May 4, 2004
  • Label: K / 7 e.p. (Japan only)
  • Format: CD, digital
2009 (a)spera 46
  • Released: March 10, 2009
  • Label: K / 7 e.p. (Japan only)
  • Format: CD, digital, vinyl
2014 Changing Light —
  • Released: May 13, 2014
  • Label: Absolute Magnitude/K
  • Format: CD, digital[71]
2018 Understanding —
  • Released: September 7, 2018
  • Label: Absolute Magnitude/K
  • Format: LP, CD, digital
2020 You Think It's Like This But Really It's Like This: 20 Year Anniversary Reissue —
  • Releasing: July 31, 2020
  • Label: Double Double Whammy
  • Format: LP, CD, digital
"—" denotes a recording that did not chart or was not released in that territory.

EPs

[edit]
List of extended plays by Mirah
Year Album title Release details
1998 Storageland
  • Released: April 24, 2001
  • Label: Yoyo USA
  • Format: 12" vinyl single
1999 Parts of Human Desire EP
  • Released: 1999
  • Label: self-released
  • Format: cassette
2001 Small Sale EP
  • Released: 2001
  • Label: Modern Radio Records
  • Format: 7" vinyl
2002 Cold Cold Water EP
  • Released: March 19, 2002
  • Label: K
  • Format: CD
2010 Don't/The Tears That Fall EP
  • Released: 2010
  • Label: Mississippi Records
  • Format: vinyl single
2017 Sundial EP
  • Released: October 6, 2017
  • Label: Absolute Magnitude Recordings
  • Format: 12" vinyl, clear

Singles

[edit]
Incomplete list of notable singles by Mirah
Year Song Album Chart peaks Notes
US[41] Can[1]
"Promise to Me" — — Used in Ringer (CW)
2002 "Special Death" Advisory Committee — — Featured in American Horror Story, Oct. 2011, and promo
"The Garden" — — Used in CSI (CBS)
2006 "The Garden" (live) College Park Is Always Ready to Party 45 13 Used for routine in So You Think You Can Dance
"The Fruits of Your Garden" Joyride: Remixes 64 31
"La Familia" — — Used in episode of Grey's Anatomy and a Kinder chocolate ad in France
2010 "Gone Are the Days" EP with 4 versions — — Used in Private Practice (ABC)
"Low Self Control" Digital single — — Also with music video
2011 "Hallelujah" Thao + Mirah — — Used in MTV's Teen Wolf
"Teeth" — — Used in Parenthood (NBC)
2012 "The Nest" (with Jherek Bischoff) Composed — —
"—" denotes a recording that did not chart or was not released in that territory.

Collaborations

[edit]
List of collaborative albums with Mirah
Year Album title Chart peaks Release details
Heat —
2003 Songs from the Black Mountain
Music Project
(with Ginger Brooks Takahashi & Friends) 		– –
  • Released: August 19, 2003
  • Label: K Records
  • Format: CD, digital
2004 To All We Stretch the Open Arm
(with Black Cat Orchestra) 		– –
  • Released: March 16, 2004
  • Label: Yoyo Records
  • Format: CD, digital
2007 Share This Place:
Stories and Observations
(with Spectratone International) 		– –
  • Released: August 7, 2007
  • Label: K / 7 e.p. (Japan)
  • Format: CD, LP
2011 Thao + Mirah
(with Thao Nguyen) 		7 –
"—" denotes a recording that did not chart or was not released in that territory.

Collections and other releases

[edit]
List of remix or compilation albums related to Mirah
Year Album title Release details
2003 College Park Is Always Ready To Party
(lo-fi concert recording by Mirah)
  • Released: 2003 / February 16, 2006
  • Label: Morning Light Records
  • Format: Vinyl, digital
2006 Joyride: Remixes
(by various)
  • Released: November 21, 2006
  • Label: K Records
  • Format: Double CD, digital
2008 The Old Days Feeling
(reissues by Mirah)
  • Released: July 15, 2008
  • Label: Modern Radio Records
  • Format: CD, digital
2010 Gone Are All The Days – Remixes EP
(remix album by Mirah)
  • Released: August 24, 2010
  • Label: K
  • Format: Digital

Scores, orchestral pieces

[edit]

Compilations, soundtracks

[edit]
Compilations
  • 1994: TESC Student Compilation – track "Carve in It" by The Mirah Yom Tov Zeitlyn Band
  • 1996/7: TESC Student Compilation – track "Lucky Little Shark" by Mirah Yom Tov Zeitlyn
  • 1997: Overboard (comp by Yoyo Records) – track "Letter" by The Drivers
  • 1997: Go Olympia by Nikki McClure (cass comp.) – track "Tumwater Falls"
  • 1997: Chez Vous (K Records, produced by Jen Smith) – track "Lucky Little Shark"
  • 1997: Shmompilation (cass comp.) – tracks "I'm My Own Best Friend" and "Aftermath"
  • 1999: Projector (studio compilation) – track "Precious Little Rocket"
  • 1999: Hootenholler (LoveTapeLove in Santa Cruz, cass comp.) – track "Get It?" as well as "Who Among the Mighty Can Compare to You?" by The Chosen
  • 1999: Olympia Talent Show (CD comp.) – cover of Yoko Ono's "Yes I'm Your Angel"
  • 1999: YoYo a GoGo 1999 (CD comp, Yoyo Records) – track "Engine Heart"[87]
  • 1999: Lullaby Lullaby (Eighty North Records) – track "Special Death"
  • 2000: Secret Home Party 7" (Little Pad Records, Japan) – track "Location Temporary"
  • 2001: Breakout (Dead Turtle Recordings, cass comp.) – track "I'm Alive"
  • 2002: One year later...It Still Hurts/Queers Against the G8 (Speed Demon Queer Zine) – track "Monument"
  • 2004: Hidden Songs, a Green UFOs 10th Anniversary Compilation – track "Dogs of BA"
  • 2005: "The Vibration Split" with Emilyn Brodsky (Third Story Records, 7") – track "Out Riding"
  • 2005: Pressing Sounds compilation – track "The Life You Love"
  • 2005: PDX Pop Now compilation – track "While We Have the Su"n (4-track home version)
  • 2009: This Is a Care Package (benefit comp for H.I.P.S., or Helping Individual Prostitutes Survive) – track "While We Have the Sun"
  • 2010: Subterranean Homesick Blues: A Tribute to Bob Dylan's 'Bringing It All Back Home – version of "Love Minus Zero"
  • 2016: 30 Days, 30 Songs - track "No Guns No Guns"[88]
Soundtracks

Performance credits

[edit]

Further reading

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mirah

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from Grokipedia

Mirah Yom Tov Zeitlyn (born September 17, 1974), known professionally as Mirah, is an American singer-songwriter and musician based in Brooklyn, New York, recognized for her contributions to independent pop and indie folk music. Raised in Philadelphia and active in the Olympia, Washington music scene from the early 1990s, she began touring and releasing recordings in 1998, drawing from influences in the K Records ecosystem. Mirah gained prominence with her debut album You Think It's Like This but Really It's Like This (2000), which showcased her graceful, introspective songwriting paired with acoustic arrangements and lo-fi production, establishing a template for her career in the indie underground. Subsequent releases such as Advisory Committee (2002) and C'mon Miracle (2004) expanded her sound with adventurous instrumentation and earned critical acclaim, including Pitchfork's "Best New Music" honor for the latter. Over two decades, she has produced over a dozen solo and collaborative projects on labels like and , often incorporating elements of , and experimental textures while maintaining a focus on personal narratives. Known for collaborations with figures like of and —resulting in joint efforts such as the Thao & Mirah duo—Mirah has toured extensively across the , , , , and . Her work emphasizes incorruptible indie , with recent activity including reissues of early albums on colored vinyl and, in October 2025, the release of "," her first new solo song in seven years, signaling ongoing evolution in her output.

Early Life and Education

Childhood in Pennsylvania

Mirah Yom Tov Zeitlyn was born on September 17, 1974, in , , as the youngest of three children to music-loving parents. Her father is Jewish, while her mother's family identifies as Protestant. The family moved to Bala Cynwyd, a of , in 1979, where Zeitlyn spent most of her childhood. Described by Zeitlyn as "kind of hippies," her parents immersed her in diverse musical influences, including and folk, with frequent sing-alongs alongside her father fostering an early affinity for melody and performance. Zeitlyn began composing original songs at a very young age, driven by innate and family-inspired rather than structured instruction or institutional involvement. This self-directed approach emphasized personal expression over formal , laying the groundwork for her independent artistic development.

Relocation to Olympia and Formative Experiences

In 1992, at age 18, Mirah Yom Tov Zeitlyn relocated from the area to , to attend The Evergreen State College, drawn by its non-traditional, interdisciplinary approach to education that emphasized narrative evaluations over grades and fostered creative independence. The move also positioned her amid Olympia's burgeoning DIY music ecosystem, anchored by and its ethos of accessible, self-produced art that prioritized community collaboration over commercial structures. Upon arriving, Zeitlyn engaged with the local punk and indie scenes, which served as incubators for the riot grrrl movement through bands like and its emphasis on feminist expression in raw, energetic performances. Her background in folk traditions and hippie-influenced personal songwriting, however, led to a selective absorption of these influences rather than wholesale adoption of riot grrrl's punk aggression or zine-based activism, allowing her to experiment at the intersection of intimate acoustics and communal energy. This environment's emphasis on informal house shows and cooperative spaces facilitated her entry, shifting her from private guitar practice to public sharing within a network that valued novice participation and minimal equipment. Zeitlyn's formative recordings emerged in Olympia's low-stakes studios and home setups, including experiments on a 4-track recorder that captured her nascent demos amid the scene's collaborative hum. Performances followed in casual venues like all-ages gigs and cooperative events, where the absence of gatekeeping—enabled by ' model of cassette dubbing and direct distribution—propelled her hobbyist output into tangible communal exchange, marking a practical evolution driven by the locale's resource-sharing norms rather than formal training.

Musical Career

Emergence in the Independent Scene (1990s)

In the late , Mirah Yom Tov Zeitlyn entered Olympia's tight-knit independent music ecosystem after relocating there, immersing herself in the DIY ethos propagated by and its founder . Around 1997–1998, she contributed to community efforts like assisting at the Secret Cafe during the Track House's operation, fostering practical connections through shared spaces rather than formalized networks. These ties extended to recording sessions at Johnson's Dub Narcotic Studio, where her initial output reflected the label's primitivist aesthetic—emphasizing lo-fi techniques with elements like malfunctioning drum machines and reverb-heavy guitars. Her earliest solo release, the cassette Parts of Human Desire in 1999, marked her debut on , capturing raw, idiosyncratic songcraft influenced by Johnson's intentionally naïve approach to production. This work exemplified the era's indie constraints: self-recorded tracks prioritizing artistic autonomy over polished sound, often handled via cassette duplication and limited distribution through Olympia's underground channels. Mirah's involvement underscored a rejection of major-label infrastructure, favoring K's model of in-house engineering and communal support to maintain control amid financial precarity—evident in bootstrapped performances at local all-ages venues. DIY challenges permeated her emergence, including rudimentary equipment setups and reliance on personal resources for touring, which Johnson and facilitated through low-barrier access to studio time and label backing starting in 1999. This period's output, while not commercially scaled, solidified her position in a scene valuing empirical experimentation over external validation, with Johnson's providing causal continuity from Beat Happening's foundational punk-folk hybrid to Mirah's budding style.

Breakthrough Albums and Initial Recognition (2000–2005)

Mirah released her debut full-length album, You Think It's Like This but Really It's Like This, in 2000 on . Co-produced by of , the album featured intimate guitar arrangements paired with blown-out drums, exploring themes of , , and emotional while challenging twee conventions prevalent in the Olympia scene. Initial reception was mixed, with some critics later describing it as overly cloying in its preciousness, though retrospective assessments highlighted its sincerity and subversion through raw perception of imagined versus real life. Building on this foundation, Mirah issued Advisory Committee on March 19, 2002, also via and co-produced by Elverum. The record showcased more mature vocal delivery and inventive instrumentation, including Morricone-esque twang on tracks like "Cold Cold Water" and varied percussion across songs addressing romance, heartbreak, and nature with wit and accessibility. awarded it an 8.3 out of 10, praising its introspective depth and confidence as a marked evolution from the debut's sentimentality, positioning it as a standout in for blending personal fantasy with dramatic beauty. These releases garnered Mirah initial visibility within the indie ecosystem, particularly through ' network and word-of-mouth among niche audiences, rather than broad commercial pushes. Critical nods from outlets like amplified her profile, emphasizing the albums' thematic nuance and production ingenuity, which contrasted with louder contemporaneous indie norms and fostered a dedicated following via grassroots promotion and live performances emphasizing acoustic intimacy.

Collaborations and Experimental Phases (2006–2010)

During 2006 and 2007, Mirah engaged in experimental collaborations that diverged from her established indie folk sound, notably partnering with Spectratone International for the album Share This Place: Stories and Observations, released in 2007 on K Records. This project featured contributions from cellist Lori Goldston and composer Kyle Hanson, focusing on anthropomorphic songs about insects, incorporating unconventional instrumentation and thematic explorations of natural cycles and metamorphosis. The work represented a stylistic risk, blending Mirah's acoustic sensibilities with experimental structures, including projected visuals in live performances to enhance the insect motifs. By 2010, Mirah began collaborating with of Thao and Stay Down, starting with a joint live set at the festival in , which showcased genre-blending elements of , folk, and serrated rhythms. This partnership, rooted in shared indie scenes, evolved from initial performances into studio recordings, emphasizing harmonious vocal interplay and thematic overlaps in personal introspection without prioritizing commercial trends. The collaboration expanded Mirah's exposure through subsequent tours, including West Coast dates that year, though it maintained a focus on artistic synergy over broad market appeal. These efforts reflected Mirah's pursuit of creative diversification, incorporating electronic undertones in experimental contexts like Spectratone's , rather than following prevailing indie trends. Festival appearances, such as , provided modest boosts in visibility within niche audiences, underscoring a period of transitional exploration that prioritized innovation over mainstream consolidation.

Maturity, Reissues, and Evolution (2011–Present)

In 2012, Mirah began splitting her time between , and , transitioning to full-time residence in by fall 2013, which broadened her collaborative network while maintaining ties to the indie scene. This period marked a maturation in her output, with releases becoming more deliberate amid the shift toward streaming platforms that favored high-volume production from major artists, allowing her to focus on refined, limited-run projects through independent labels like and . Her next solo album, Changing Light, arrived on May 13, 2014, featuring contributions from musicians including , of , and Jherek Bischoff, and emphasizing rawer production compared to prior works. Four years later, Understanding followed on September 7, 2018, a self-produced effort exploring introspective themes through 10 tracks, again involving Saunier on drums. These albums demonstrated sustained creative momentum, with Mirah handling much of the instrumentation and arrangement to preserve artistic control in an era where indie artists often struggled for visibility. Reissues revitalized access to her catalog, including the April 30, 2021, vinyl editions of the long-out-of-print Advisory Committee (2002) and C'mon Miracle (2004) via , each limited to 1,000 copies on colored vinyl with digital downloads. In 2024, she issued the single "Wallflower" and the Internal Trembling EP, signaling continued activity through smaller digital and vinyl formats. Mirah supported these efforts with periodic U.S. tours, including at like Pioneer Works in , prioritizing intimate settings over expansive commercial pushes. On October 20, 2025, Mirah released the single "" via —her first original song in seven years—co-produced with guest vocals from of Flock of Dimes and of Hand Habits, underscoring adaptive evolution through selective collaborations in a fragmented indie market. This output reflects resilience, with reissues sustaining catalog value and new material emphasizing quality amid declining physical sales and algorithmic streaming challenges.

Musical Style and Technique

Songwriting Approach and Lyrical Themes

Mirah's songwriting process centers on capturing spontaneous emotional "moments" that resonate deeply, often initiated with , , guitar, or keyboard during walks or internal reflection, prioritizing authentic expression over premeditated formulas. She composes core melodies and mentally before rudimentary recordings, such as phone memos, to preserve raw vulnerability drawn from lived personal experiences, including relationships and . This method underscores emotional realism, where she challenges herself to "listen more" to inner impulses rather than defaulting to easier lyrical paths, fostering non-linear narratives that integrate —such as natural elements like symbolizing inexorable forces—and occasional perspectives for broader resonance. Recurring lyrical themes emphasize personal amid relational dynamics, loss, and helplessness in the face of change, correlating intimate heartbreaks with grander existential or environmental scales without descending into . Songs frequently probe the tensions of love's impermanence and self-examination, as in reflections on farewells or emotional burdens, rendered through abstract imagery that evokes universality from specific autobiographical roots. Her avoidance of overt moralizing aligns with a commitment to undiluted emotional truth, even amid associations with activist-leaning indie scenes. This approach has evolved from early raw confessionalism—marked by punkish directness and youthful narratives—to greater subtlety and in later works, driven by personal maturation, life milestones like parental loss and late , and a lessened compulsion to unpack every sentiment explicitly. The shift manifests in prose-like breadth and orchestrated emotional layering, sustaining graceful intimacy while accommodating broader thematic scope, independent of external stylistic pressures.

Instrumentation, Production, and Vocal Delivery

Mirah primarily employs as her foundational instrument, often fingerpicking intricate patterns that underpin her compositions, supplemented by occasional minimal such as loops and lo-fi effects to evoke a handmade aesthetic. This approach aligns with her early DIY , where sparse arrangements highlight personal expression over elaborate orchestration, as seen in tracks featuring subtle , , or accents rather than dense electronic layers. Her production evolved from self-recorded 4-track cassette setups in the late , emphasizing raw, immediate captures in home environments to preserve unpolished realism, as on her 1999 EP Parts of Human Desire and 2000 album You Think It's Like This but Really It's Like This. Later works transitioned to collaborations with producer , who co-engineered albums like C'mon Miracle (2004) using analogous lo-fi techniques, including room ambiance and basic multitracking to maintain intimacy without commercial polish. This methodology underscores a commitment to accessible tools—such as portable recorders and analog experimentation—prioritizing sonic vulnerability over studio artifice, evident in the contrast between layered studio depths and stripped-down live performances. Vocally, Mirah delivers in a whispery, breath-controlled register that conveys quiet intensity and emotional directness, often multi-tracking her own harmonies by bouncing recordings between machines to build ethereal, self-harmonized textures. This technique fosters an intimate, quality in studio versions, where overlaid whispers create a sense of solitary communion, differing from her more singular, unadorned live vocal projections that retain agility but lack the harmonic density. Such methods enable precise control over dynamics, allowing subtle swells and fades to mirror lyrical vulnerability without reliance on amplification or effects.

Reception and Influence

Critical Assessments and Commercial Performance

Mirah's albums have generally received positive to mixed reviews from indie music critics, with particular praise for her early work's originality and emotional sincerity. Her 2002 album Advisory Committee, produced by , was lauded for its innovative arrangements blending acoustic folk with dramatic elements like Morricone-inspired twang and strings, earning an 8.3 rating from for its introspective take on romance and heartbreak without self-indulgence. Critics highlighted tracks like "Cold Cold Water" as masterpieces of vulnerability, distinguishing Mirah's style through mature vocals evoking over more conventional indie pop. Later releases, such as 2014's Changing Light, drew more tempered responses, with assigning a 6.0 and noting a gritty shift toward desert rock tropes but critiquing repetitive breakup themes and emotional distance. Overall, reviewers have commended her songwriting's intimacy and range, though some observed a niche confinement within Olympia's and twee traditions, limiting broader appeal. Commercially, Mirah has maintained a modest profile typical of independent artists on labels like , with no major chart entries or blockbuster sales reported. Albums like Advisory Committee and C'mon Miracle (2004) achieved tens of thousands in units through cult and reissues, such as the 2021 editions marking their 20th anniversaries, but lacked mainstream crossover due to her experimental leanings and avoidance of pop conventions. Her sustained viability is evident in streaming metrics, with approximately 166,700 monthly listeners on as of recent data, reflecting steady engagement from a dedicated indie audience rather than explosive growth. This niche endurance underscores a preference for artistic integrity over commercial amplification, aligning with peers in the scene who prioritize cult loyalty over mass-market metrics.

Cultural Impact and Legacy in Indie Music

Mirah's association with exemplified the DIY ethos of the Olympia indie scene, fostering self-reliant production and intimate songcraft that resonated with female-led acts emphasizing personal in their work. Her early albums, produced with minimal resources alongside collaborators like , modeled a lo-fi approach that prioritized lyrical vulnerability over polished aesthetics, influencing a wave of subsequent artists who adopted similar home-recording techniques. While the aesthetic promoted accessibility, its prevalence of uniform lo-fi timbres has been noted to occasionally stifle broader sonic innovation by reinforcing stylistic conformity within the scene. Empirical traces of Mirah's legacy appear in acknowledgments from later musicians, such as Spirit Night citing her albums as direct inspirations for their songwriting process on the 2024 release Time Won't Tell. Her emphasis on themes of emotional independence and relational dynamics found echoes in the candid, introspective styles of emerging indie songwriters, particularly women and or nonbinary creators who credit her as a foundational figure. The 2020 20th anniversary reissue of her debut You Think It's Like This but Really It's Like This included tribute covers by these influenced artists, underscoring her role in shaping vulnerable, narrative-driven beyond ephemeral subcultural trends. Sustained interest in Mirah's catalog, evidenced by multiple reissues, affirms its lasting value in indie music circles, distinct from transient associations with movements. The 2020 remastered edition of her debut paired original tracks with contemporary covers, while 2021 vinyl reissues of Advisory Committee and C'mon Miracle—the latter originally a 2004 "Best New Music" selection—made key works available anew on colored vinyl. These efforts highlight how her songwriting endures as a reference point for autonomy-focused , prioritizing artistic over commercial or ideological framing.

Criticisms and Limitations

Critics have noted inconsistencies in Mirah's early albums, such as Advisory Committee (2002), which shifted abruptly between coffeehouse folk and lo-fi electronica without sustaining its standout moments, like the single "Cold Cold Water." This led to a broader perception in 2003 that, despite her potential, Mirah had yet to deliver a fully realized great album, with collaborative efforts like Songs from the Black Mountain Music Project criticized for lacking focus amid experimental ephemera and unfocused instrumentals. Subsequent reviews highlighted a tendency toward underdeveloped song structures, as in C'mon Miracle (2004), where Mirah was described as a capable songwriter who often shared incomplete creative processes with audiences, including half-formed ideas that prioritized personal fascination over polished execution. Live performances have drawn similar complaints of overreliance on cooing vocals and repetitive sonic elements, which some reviewers found cohesive in intent but ultimately limiting in variety and emotional depth. Certain tracks across , such as "Song of Psyche" from Magma (2006 collaboration), have been faulted for dragging through excessive repetition, undermining thematic despite occasional progression. Relative to indie contemporaries like or , who advanced folk innovation through expansive and ambition in albums like Illinois (2005) and Ys (2006), Mirah's output has been seen as less transformative, adhering more closely to lo-fi introspection without comparable breakthroughs in scale or experimentation. Her deep ties to Olympia's insular DIY scene, centered on and its politically activist ethos, have arguably constrained broader commercial appeal, as the label's limited distribution and niche audience fostered a but hindered mainstream penetration compared to artists who transcended regional boundaries. This contextual insularity, while enabling artistic autonomy, contributed to modest sales and recognition, with albums rarely charting beyond indie circles.

Personal Life and Views

Family, Relationships, and Major Life Events

Mirah Yom Tov Zeitlyn was born in 1974 in , , into a Jewish family that operated a small natural foods bakery during her childhood; her mother also worked as a painter and massage therapist. Her middle name, Yom Tov, translates to "good day" or "holiday" in Hebrew, reflecting her family's cultural heritage, which included exposure to traditional Jewish melodies from infancy that later informed her sense of identity. She has one sister, Emily Ana Zeitlyn, a musician with the band The Weeds. Zeitlyn relocated from , to , in 2004, seeking a new creative environment after establishing her early career in the indie scene. In the fall of 2013, she moved full-time to , following a period of part-time residence there beginning in October 2012, a shift that coincided with evolving personal and professional priorities. In 2018, Zeitlyn experienced at age 43, reaching seven months by October of that year while continuing performances; she gave birth to her first child soon after, transitioning into motherhood, which she described as an unanticipated but embraced life phase. Zeitlyn has kept details of her romantic relationships largely private, prioritizing discretion amid public scrutiny. Early in her career, she identified openly as and , though by 2014 she noted marrying a man, highlighting a fluid navigated outside the spotlight.

Activism, Political Stances, and Public Persona

Mirah has incorporated political commentary into her songwriting, most explicitly with the 2016 track "No Guns No Guns," contributed to the "30 Days, 30 Songs" project opposing Donald Trump's presidential candidacy, featuring lyrics declaring "No Guns No Guns! And Never Trump." The song emerged amid pre-election efforts by musicians to critique Trump's rhetoric on gun rights and divisiveness, reflecting a broader wave of artist-driven resistance in left-leaning indie circles. Earlier works like from her 2014 album Changing Light serve as calls to action, intended to inspire ongoing among listeners and her circle of activist friends. She has described as her most overtly political composition, addressing geopolitical tensions, though specifics remain tied to personal reflection rather than organized campaigns. Mirah has collaborated with , a group aiding artists in integrating into their practices, yet she has candidly admitted limitations in her own engagement, stating, "I’m not a very good activist myself." As an openly artist rooted in Olympia's and scenes, Mirah's public persona emphasizes personal authenticity over performative advocacy, with her exploring LGBTQ+ themes of intimacy and identity without . In interviews, she has distanced herself from "rah-rah" or queer rights , attributing this to fortunate personal experiences that spared her overt , contrasting with the indie milieu's frequent emphasis on collective grievance narratives. This self-described mellowing prioritizes individual self-awareness and relational growth over broad ideological crusades, evident in her independent operation of Recordings since 2009.

Other Contributions

Publishing and Business Aspects

Mirah's early career was closely tied to , an independent label based in , where she released key albums such as You Think It's Like This but Really It's Like This in 2000 and Advisory Committee in 2002. This affiliation provided a platform within the indie scene but operated under the typical constraints of small-label distribution and limited marketing budgets, emphasizing artist autonomy over major-label advances. Over time, Mirah shifted toward greater independence, partnering with labels like for vinyl reissues of her catalog, including Advisory Committee and C'mon Miracle on April 16, 2021, and the 20th anniversary edition of You Think It's Like This but Really It's Like This. These reissues capitalized on renewed demand for physical formats in the indie market, allowing her to retain ownership and generate revenue from back-catalog sales without ceding rights to larger entities. Additionally, Mirah operates her own imprint, , which collaborates on select releases, further enabling direct control over production and distribution in an era of streaming-dominated royalties. This approach reflects pragmatic adaptations to the indie model's challenges, where artists often self-manage publishing and royalties to maximize earnings from niche audiences, as evidenced by her strategic focus on reissues amid low overall revenue streams from digital platforms.

Film, Scores, and Non-Album Work

Mirah's most notable compositional work for came in with the experimental Spectratone International, comprising cellist and composer Greg Haines. In 2007, they created an original score for a suite of twelve stop-motion animated short films directed by Britta Johnson, centered on insect protagonists and everyday vignettes. The resulting album, Share This Place: Stories and Observations, integrates Mirah's vocals with orchestral arrangements, including strings and unconventional instrumentation, to evoke whimsical yet introspective atmospheres tailored to the films' narratives. The group performed the score live alongside screenings during a limited 2008 tour, emphasizing its site-specific, performative dimension. Beyond scoring, Mirah has licensed existing songs for independent films and television, maintaining a selective approach aligned with her indie ethos rather than pursuing extensive Hollywood placements. Her track "Sweepstakes Prize" appears in the 2002 independent drama Group, which depicts a women's circle and features contributions from artists including . Songs such as "Special Death" featured in the 2011 pilot episode, underscoring tense scenes with her signature ethereal folk style. Additional soundtrack credits include placements in the romantic comedy (2010) and episodes of the medical drama (2005 onward), as well as the 2018 film Melrose. These uses highlight her music's utility in evoking emotional intimacy without compromising her aversion to mainstream commercial ties. Non-album contributions outside formal releases remain sparse, focusing on or archival elements distinct from her core . Mirah provided for Group, blending original and adapted pieces to support its raw, ensemble-driven aesthetic. Such one-off endeavors underscore her prioritization of artistic control and collaborative integrity over prolific scoring output.

Discography

Studio Albums

Mirah's debut studio album, You Think It's Like This but Really It's Like This, was released on March 21, 2000, by . Featuring 16 tracks recorded primarily at her home and Dub Narcotic Studio, the album was produced with assistance from . A 20th anniversary reissue, remastered and expanded with bonus material, followed on July 31, 2020, via . Her second studio album, Advisory Committee, appeared on April 9, 2002, also on , comprising 14 tracks. Self-produced by Mirah with contributions from at Dub Narcotic Studio, it marked a shift toward more orchestrated arrangements. Reissues occurred in 2021 via , including a compilation of covers by collaborators. The third full-length solo effort, C'mon Miracle, came out on May 4, 2004, through , with 12 tracks produced by . It incorporated fuller band instrumentation from friends in the Olympia scene. A reissue was released in 2021 by . (a)spera, Mirah's fourth studio album, was issued on March 10, 2009, by K Records, containing 10 tracks exploring themes of hope and difficulty through eclectic instrumentation. Changing Light, her fifth solo studio album, debuted on May 13, 2014, via Absolute Magnitude Recordings in partnership with K Records, featuring 10 tracks with guest contributions from artists like Mary Timony and Jherek Bischoff. The most recent studio album, Understanding, released on September 7, , by Coptic Cat Records, includes 10 tracks blending and folk elements with .

EPs and Singles

Mirah's output in extended plays and singles has primarily consisted of limited-edition vinyl releases in her and a shift to digital standalone tracks in later years, often serving as promotional or experimental outlets distinct from full albums. These formats highlight her lo-fi roots and evolving string arrangements, with early works self-produced on analog equipment and recent ones featuring collaborations but led by her vocals and songwriting. Her debut EP, Storageland, emerged from the indie scene as a one-sided 12-inch vinyl pressing limited to six etched tracks, emphasizing raw, cassette-era aesthetics without overlapping full-length material. Released on Yoyo Recordings, it captured her initial forays into minimalistic songcraft prior to broader recognition. Subsequent shorter releases include the 7-inch single "Cold Cold Water," issued by in 2002 as a standalone pressing of the titular track backed by a b-side, promoting her Advisory Committee era without drawing directly from album sequences. In 2017, the Sundial EP marked a return to shorter formats via her Absolute Magnitude Recordings imprint, featuring seven tracks including the original "Sundial" alongside reimagined catalog songs arranged for string quartet by Jherek Bischoff; the limited clear 12-inch vinyl edition underscored her interest in orchestral intimacy. Digital singles proliferated in the 2020s, emphasizing concise, standalone expressions amid sparse activity. "Of Pressure" (2020, Absolute Magnitude) and "Murphy Bed" (2020, tied to her debut reissue but released independently) revived archival introspection in stripped-down forms. "In Love" followed in 2021 as a brief, emotive digital release. Most recently, "Catch My Breath" (October 20, 2025, Absolute Magnitude), featuring contributions from Flock of Dimes and Hand Habits, represented her first original solo material in seven years, clocking in under four minutes with layered harmonies.
TitleTypeRelease DateLabel
StoragelandEP1997Yoyo Recordings
Cold Cold WaterSingle2002
EPOctober 6, 2017 Recordings
Of PressureSingle2020
Single2020
In LoveSingle2021
SingleOctober 20, 2025

Collaborative Releases

Mirah's most prominent collaborative album is the self-titled Thao & Mirah, released on April 26, 2011, by . The project pairs Mirah with (of Thao & the Get Down Stay Down), blending their respective and experimental styles into 11 tracks, including "Eleven" featuring Merrill Garbus of and "Hallelujah." Produced by Garbus, the album emphasizes vocal harmonies and acoustic arrangements, with Mirah and Thao sharing songwriting credits on several songs to explore themes of interpersonal tension and resilience. In 2007, Mirah released Share This Place: Stories and Observations in partnership with Spectratone International, comprising cellist and vocalist Kyle Hanson, under . This 12-track album draws from the entomological observations of Jean Henri Fabre, presenting insect-inspired narratives through chamber folk instrumentation, with Mirah handling primary vocals and lyrics while the ensemble contributes strings and harmonies. The collaboration highlights Mirah's affinity for narrative-driven, ecologically themed music, distinct from her solo output by incorporating Goldston's prominently in tracks like "Don't Die in Me."

Reissues and Compilations

In 2020, Mirah's debut album You Think It's Like This but Really It's Like This received a 20th anniversary reissue through , featuring a remastered version of the original tracks alongside a bonus LP compiling covers of every song by contributing artists including , , , Sad13, and Shamir. This double LP edition, released on July 31, aimed to revitalize access to the out-of-print material while honoring its influence through peer tributes, with the covers serving as a curated compilation highlighting the album's enduring impact on indie musicians. The following year, on April 16, 2021, issued vinyl reissues of Advisory Committee (2002) and C'mon Miracle (2004), both previously unavailable on the format and long out of print. Advisory Committee appeared on blood red vinyl, while C'mon Miracle was pressed on sea blue vinyl, with the latter's reissue emphasizing its critical acclaim, including Pitchfork's "Best New Music" designation upon original release. These efforts reflect a strategic catalog preservation initiative, enabling renewed physical distribution and appealing to collectors amid vinyl's resurgence, without altering core tracklists but restoring availability for archival and commercial continuity. Mirah's contributions to broader compilations remain ancillary, primarily through soundtrack appearances and collaborative anthologies rather than standalone releases aggregating her catalog, underscoring reissues as the primary vehicle for repackaged material.

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  55. http://www.mirahmusic.com/full-store/no-guns-no-guns-7
  56. https://genius.com/Mirah-no-guns-no-guns-lyrics
  57. https://www.undertheradarmag.com/news/watch_mirah_shares_video_for_anti-donald_trump_song_no_guns_no_guns
  58. https://www.vice.com/en/article/we-ran-through-the-rain-with-mirah-and-talked-breakups-activism-and-strap-ons/
  59. https://www.slugmag.com/music/interviews/music-interviews/mirahs-to-do-list-1-converse-with-the-world/
  60. http://www.olympiamusichistory.org/people/mirah
  61. https://dbldblwhmmy.com/products/mirah_c_mon_miracle
  62. https://www.instagram.com/p/DQCJ1iWDvqE/
  63. https://www.washingtonpost.com/archive/entertainment/2008/01/11/mirah-and-spectratone-international-share-this-place-stories-and-observations-k-records/ba46ee53-8b23-421d-a5bf-adc021e0a8df/
  64. https://www.brooklynvegan.com/mirah-spectrato/
  65. https://www.frameline.org/distribution/films/group/
  66. https://www.youtube.com/watch?v=GlvnAvwAAOg
  67. https://www.imdb.com/name/nm3611263/
  68. https://krecs.com/products/klp112
  69. https://mirah.bandcamp.com/album/you-think-its-like-this-but-really-its-like-this
  70. https://krecs.com/products/klp135
  71. https://mirah.bandcamp.com/album/advisory-committee
  72. https://krecs.com/products/klp160
  73. https://mirah.bandcamp.com/album/cmon-miracle
  74. https://krecs.com/products/klp195
  75. https://mirah.bandcamp.com/album/a-spera
  76. https://krecs.com/products/klp253
  77. https://www.mirahmusic.com/full-store/understanding
  78. https://pitchfork.com/news/mirah-announces-new-sundial-ep-shares-new-song-listen/
  79. https://mirah.bandcamp.com/album/sundial
  80. https://thaomirah.bandcamp.com/
  81. https://www.discogs.com/master/331222-Thao-Mirah-Thao-Mirah
  82. https://www.polyvinylrecords.com/products/mirah-you-think-its-like-this-but-really-its-like-this-20-year-anniversary-reissue
  83. https://www.treblezine.com/mirah-you-think-its-like-this-reissue-covers-album-2/
  84. https://www.treblezine.com/mirah-vinyl-reissues-advisory-committee-cmon-miracle/
  85. https://www.discogs.com/artist/321099-Mirah-3
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