tittleTunes

One of the main reasons I moved to New York in the summer of 2008 was to have the opportunity to see some of my favorite New York bands and musicians, such as Regina Spektor, Nicole Atkins, Sufjan Stevens and Au Revoir Simone, play more often. There are also many New York-based acts with whom I’ve become acquainted since my move that I have enjoyed seeing multiple times, as well, such as St. Vincent, The Antlers, School of Seven Bells, Ra Ra Riot and Nouvellas.

One of my very favorite New York musician discoveries, though, has been Holly Miranda. I was told about her by a friend in July 2009 and jumped at the opportunity to see her perform at 92Y Tribeca. Completely mesmerized by her gorgeous vocals, skillful guitar work and unique, haunting songwriting style, I instantly became a devoted fan. I recognized I was seeing an artist who would soon blow up, for she held a rare talent that one comes across only very sporadically.

After her set that night at 92Y Tribeca, I knew that I had to see her perform at every given opportunity in which I was able. After witnessing a fine, but subdued performance at the intimate Monkey Town in Williamsburg, Brooklyn, then a remarkable set at Maxwell’s in Hoboken, New Jersey that completely hushed the spellbound crowd, I was able to catch her once again at her CMJ showcase at Le Poisson Rouge in Manhattan.

Having just returned from a European tour where she opened for XL Recordings label-mates and CMJ buzz band, The xx, she brought her vocal prowess and intensity to a higher level than any time I had seen her previously. Her music is sensual and ethereal and raw and beautiful and touching. Her unique voice is one that is immediately recognizable, and when she goes into her falsetto, it completely entrances.

Whether seeing her live or listening to her studio work, she never fails to impress, and there is not a single Holly Miranda song I have yet to thoroughly enjoy. From her lead-vocal tracks in her former band, The Jealous Girlfriends, such as “Secret Identity,” “Roboxulla,” “Hieroglyphics” and “Machines,” to her “Sleep on Fire” EP, with such stand-out tracks as “Every Time I Go to Sleep” and “Treehouse,” to tracks from her upcoming Dave Sitek-produced full-length, The Magicians Private Library (due in early 2010), such as “Slow Burn Treason,” “Joints” and “Canvas,” I have managed to grow a playlist of 19 tracks, and all 19 are now in my Top 50 “Most Played” on my iTunes, and that’s having only known about her for four months.

On November 17th, Ms. Miranda’s first XL Recordings single, “Forest Green Oh Forest Green” will be released. It’s more upbeat than her solo work thus far and holds a rather charming quality. Because of the production, though, and her unmistakable voice, it retains that distinct, otherworldly, ambient sound that is Holly Miranda. The single is backed by a cover of Yoko Ono’s “Nobody Sees Me Like You Do,” a song which had me misty-eyed when she performed it at Le Poisson Rouge with its quiet, aching tone. The studio version has a faster tempo, but still retains its intimacy wonderfully.

Every time I listen to Ms. Miranda’s music, I find myself constantly overwhelmed by a wonderful feeling of being honored– honored to witness her gifts so relatively early in what is sure to be a long and rewarding career. Her abundant talent is staggering, and once The Magicians Private Library finally arrives, she will undoubtedly make the world swoon.

“Joints” by Holly Miranda