Mirah

The Echo Presents

Mirah

Lonesome Leash, Alex Rose

Sun September 16, 2018

7:00 pm

The Echo

Los Angeles, California

$14 Advance / $16 Day of Show

This event is all ages

Mirah
Mirah
Brooklyn-based Mirah Yom Tov Zeitlyn (b. 1974, Philadelphia) creates incorruptible independent pop music. Defined by her graceful songwriting and adventuresome recordings, Pitchfork has praised her “incredible voice—a versatile coo that can flit from low, sultry tones to high, airy falsetto in one breath.”

She has released over a dozen solo and collaborative recordings on K Records, Kill Rock Stars and various US domestic and foreign independent labels. Her latest release, Changing Light, was self-released on her own imprint, Absolute Magnitude Recordings. New record, Understanding, releases September 7, 2018.

Collaborators include well-known producers Phil Elverum (The Microphones/Mount Eerie), Merrill Garbus (tUnE-yArDs), Tucker Martine, Guy Sigsworth and Calvin Johnson, songwriters and composers such as Thao Nguyen, Lori Goldston, Susie Ibarra, Jherek Bischoff, Tara Jane O’Neil and Khaela Maricich (The Blow) and visual and media artists such as Anna Oxygen of Cloud Eye Control, Britta Johnson and Ginger Brooks Takahashi.

Her latest release, Changing Light, was self-released on her own imprint, Absolute Magnitude Recordings.

Zeitlyn has toured the United States, Europe, Japan, Australia and New Zealand many times since 1998.
Lonesome Leash
Lonesome Leash
Walt McClements is the multi-instrumentalist leader of New Orleanspunk orchestra Why Are We Building Such a Big Ship?; he's also a member of New Orleans's Panorama Jazz Band, and on top of that he's a collaborator and touring member of Dark Dark Dark. He is a very, very busy young man. And yet, with all that on his plate, there is "I Am No Captain," the starkly beautiful debut album from Lonesome Leash, an immaculately disheveled affair that finds him channeling all of his musical projects into a lean, mean and gorgeously messy one-man affair.

Originally from Durham, North Carolina, McClements settled in New Orleans in 2004, twenty-years old and fresh from wanderings that found him crisscrossing the States and dipping down into Mexico. In New Orleans he found common cause with the burgeoning culture of kids fanatical about playing traditional American music like country and jazz, but who also were relentlessly experimental and open, throwing in touches of Gypsy swing, Balkan brass, and other disparate inspirations to create a unique local musical hybrid.

Anchored by the sinuous accordion sound that's become a McClements trademark, Lonesome Leash takes some mad aesthetic stabs, incorporating drum loops, piercing feedback and brass flourishes, in the end creating a sort of future-rustic musical aesthetic.

McClements explains it like this: "I'd always been interested in affecting the accordion to make it sound more like a synthesizer, and more than a synthesizer, as well as including drum machines and electronics into what normally would -- or could be -- very traditional sounding textures."

Lonesome Leash trades in the sort of heavy-breathing ecstatic joy and fatalistic romanticism that pervades New Orleans, but translates to any location and into any language. Songs like "Fade Away" encapsulate that feeling you get when you and a friend are rolling cigarettes together on a porch as the sun dips below the horizon, and you can feel stray bits of tobacco on your lips and everything seems, just for a moment, like it's going to be all right. But it's also music for a new wave dance party in a falling-down shotgun house ("Pelican"), and it can be recognized by anybody who's ever had a mad romance followed by having their heart shattered into a thousand pieces, as heard on the epic album-closer "Ghosts." Lonesome Leash is music for the lonely ones; for the triumphant and the nervous; it's the soundtrack to the lives of the mad and magnificent everyone.
Alex Rose
Alex Rose
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