Finger tapping guitar lines and overlaying falsettos aplenty, L.A. based Local Natives set themselves apart from the sea of current day contemporaries in the technique and care they put into orchestrating their own style of dynamic and effervescent pop rock.

Walking away with a contract from the UK label Infectious Records after an all out, nine set stint at last year’s SXSW, these guys were honing their musicianship together for over three years before officially uniting under the name Local Natives. Named for the L.A. house in which they all shared, their recent full length, Gorilla Manor, is a testament to the collaborative effort of the group.
Offering songs afloat in vibrant choruses and seductive three part harmonies, Local Natives draw from an array of both current day and ’80s era influences, customizing their own style of spirited pop medleys and paying homage to The Talking Heads with a cover of “Warning Sign” on their latest.

Currently signed to ultimate DIY label, French Kiss Records, Local Natives’ talents extend well beyond their rhythmic low end and layered hooks, relying initially on self-booked tours and a penchant for designing all of their own album artwork. With an upcoming spot on this year’s Coachella and a nationwide tour alongside fellow label mates, Suckers, Local Natives have been keeping up the energetic pace that their music so appropriately defines.

No other artist embodies the Pacific Northwest quite like Mirah. From her organic instrumentation, to her endless array of collaborative experiments, and a humble yet evocative stage presence, the singer /songwriter has gone from a girl and guitar to a far reaching and visionary artist.

Background Check:

Born in Pennsylvania’s farm country, Mirah (pronounced Mear-rah) Yom Tov Zeitlyn moved as a child with her family to Olympia, WA, and began playing guitar after graduating from Evergreen State College. Early four track recordings and local gigs led to a signing with Calvin Johnson’s K Records, where she remains to this day. With the Microphone’s Phil Elverum assisting on instrumentation, Mirah’s debut LP, You Think It’s Like This But Really It’s Like This, was instantly recognized not only for her amazingly gentle and wistful vocals, but also for a particularly melodic lo-fi grace and charm.

Mirah’s next record, 2002’s Advisory Committee, put her on the map. Hailed by critics, it found the songstress in a more orchestral state of mind. If her debut LP was a clever collection of folk pop, this record was a full fledged production powered by a commanding composer.  2004’s C’mon Miracle again propelled Mirah’s craft into new and exciting areas, ever fueling her freewheeling enthusiasm for experimentation.

In the following years, Mirah would branch out to involve herself in a myriad of projects, concept albums and collaborations. Her most recent release, last year’s (A)spera, features the artist’s best work to date. Matured but still ambitious, the record retains a gentle quality within dramatic moments and powerful moods. And while Mirah’s vocals have remained light and delicately intimate, her voice has never been stronger.