With the growing list of punk-turned-roots acts (see Greg Graffin of Bad Religion’s excellent 2006 effort, Cold as the Clay, or anything John Doe of X and Mark Lanegan of Screaming Trees have been up to for many years for further evidence…) one could assume that an acoustic singer/songwriter project is the going retirement plan for punks seeking solace from the hustle and bustle of crusty noise and leather.
John Doe
Mirah
Sitting in a bustling coffee shop in Seattle, it occurs to me that Mirah Yom Tov Zeitlyn — simply Mirah for the purposes of her records — has nothing to prove.
Since her full-length solo debut, You Think It’s Like This but Really It’s Like This, she’s carved out a niche for herself as a much loved and respected member of the Northwest indie elite, winning accolades for a series of lo-fi albums that have met with broad critical acclaim.
I’m also talking with cellist Lori Goldston and accordionist Kyle Hanson. They don’t have much to prove either. They’ve made their marks in Northwest art music as founding members of Black Cat Orchestra, Spectratone International, and the duo The Shifting Light; they’ve scored silent films and collaborated on dance, music, and theatre projects. Goldston has played with artists like Nirvana, David Byrne, and John Doe.
Though Goldston and Hanson have, in fact, already once collaborated with Mirah by way of Black Cat Orchestra — on To All We Stretch the Open Arm, a collection of politically-minded covers of works by Kurt Weill, Stephen Foster, Leonard Cohen, Bob Dylan, and others — Share This Place is a whole other animal.