miralee’s sound strikes me as floating somewhere between Kate Bush and Portishead, even with a little Nine Inch Nails thrown in – just to vary that emotional intensity somewhat.
Stranger To Myself is a song that takes a few listens to really familiarize with. The soundscape is, on the one hand, dreamlike and distant, partly industrial, intermittently distorted, generally spacious and ever-changing. The leading vocals, on the other hand, are soaked in reverb, paired in a manner that presents the high and the even higher, offering these poetic, deeply thoughtful ideas – the likes of which provoke within the listener a certain level of consideration and self-reflection. (If they don’t, you’re not really listening closely enough.)
Stranger To Myself is a pure and artistic single that utilizes every element of music creation to make its point and to express itself. The structure, the instrumentation, the lyrics, the progression, the melodic delivery – all of this is united, yet to focus in on any one detail is to see it as individually interesting and poignant in itself.
At five and a half minutes long, the track has the potential to really surround and absorb the listener in its aura and its ideas. The second time you listen, those opening bars of music – the piano, the vocals, the distant drone and the other-worldly dashes of possibility – all of this makes sense and comforts you now, in a refreshingly strange way. This time around, the ambiance is recognizable, so your focus is more intently on the lyrics.
The melody is short and concise during the verses, short lines that fall at the end in each case – the personal touch combined with the all-inclusive – there’s a lot that gets you thinking, and the music reinforces each passing idea. You could become, potentially, a stranger to your own self as the music gathers around you. Or, on the contrary, you could find yourself a little more in tune with reality. In either case, hopefully there’s a lot more to come from miralee.