Mirador - Self Titled
Born from the fires of a 2019 tour between rock bands Greta Van Fleet and Ida Mae comes new group Mirador, a 4 piece rock collective made up of Jake Kiszka (vox, guitar, Greta Van Fleet), Chris Turpin (vox, guitar, Ida Mae), Nick Pini (bass), and Mikey Sorbello (drums). After debuting with a comical opening for Greta Van Fleet in Spring of 2024 then playing a string of shows earlier this year, the band has finally released their first self titled album.
Out of all 12 tracks that make up Mirador, I’ve chosen four to focus on because I feel they well-reflect the album as a whole while also standing out as major powerhouses. Those songs are Roving Blade, Must I Go Bound, Ten Thousand More to Ride, and Heels of the Hunt.
With a dark and scattered opening similar to the likes of Jethro Tull and Jefferson Airplane, Roving Blade serves as a cinematic and adventurous tune that listeners will find to be a recurring theme throughout the record. The song’s lyrics are very yearnful, as they reflect a sort of longing and willingness that the narrator indicates through lines such as “from Grosvenor Square to the Norfolk Broads. From Idaho to the House of Lords. My feet have walked the cold, dark Earth for my love that I adore ‘cos I am the roving blade” and “I held you high as the marble arch. I kissed the moon as the sky turned dark. Coal to silver, cotton to silk. My boots lay across your floor ‘cos I am the roving blade”. These lines also highlight the band’s mixed heritage since Turpin, Sorbello, and Pini are all from the United Kingdom whereas Kiszka is from the midwest area of the United States. The instrumentals in this one also perfectly gel with the bold atmosphere of the writing however the vocals leave something to be desired due to producer Dave Cobb’s approach that evidently muffles and distorts Kiszka and Turpin’s singing. It almost sounds like they’re singing in a tunnel and unfortunately, this isn’t the only track where this is the case.
Must I Go Bound, in contrast to Roving Blade, is much brighter since it’s acoustic-based and intended to be a soft, direct love song. Cobb apparently decided to ease it back with the distortion on the vocals, too, because it is much clearer and crisp sounding to accompany Must I Go Bound’s romantic though heartbreaking stance. “Must I go bound and you go free? Must I love another that never loved me? Should I act such a childish part as to love another that’d only break my heart? I could never love another” makes up the song’s repeated chorus, showcasing a heavy theme that revolves around the conflicting act of falling in love. This stake is deepened through multiple verses but especially “My mind wanders to the miles left behind, to your eyes shining deeper than a diamond mine. Now I’m left laughing with blackbirds and the crow. Don’t you reap what your heart cannot sow.” A heavenly string section in the background of the song also helps to drive this emotional notion home; so much so that even the strongest of men may shed a tear to Must I Go Bound.
Ten Thousand More to Ride takes the cinematic manner of Roving Blade and triples it. Perfectly fitting for the score of a fantasy film like The Princess Bride, the song is conceptually deep and layered with a series of intricate meaning, mystical instrumentals, and a demeanor of stern compassion. It seems to be about being in love with someone who may have a rough or traumatic past, which is highlighted through “Born on the outskirts, coughing up the red dirt to a mother and father, and a fistful of hurt. Spray cans and road signs, running through the clotheslines. You heard the dust sing and you left for the dawn. I could love you. I can love you.” and “Somebody’s got to hold you ‘cos all that trouble’s gonna kill you. So take what you want, give the rest away. Somebody’s got to hold you”. Pini’s work on the keys along with the bass uplifts the song into a realm of magic, too, and I almost thought it could be the type of song viewers would see in the iconic film adaptations of Twilight from the late 2000s/early 2010s because of it. Again, however, this is all sideswiped by Cobb’s added vocal warping.
Heels of the Hunt isn’t as enigmatic or charming compared to the previously highlighted tracks but it is rebellious, clever, and sassy like every good old fashioned rock song ‘ought to be. Similar to the styles of Black Rebel Motorcycle Club and KT Tunstall, Heels of the Hunt is a battle for power; mainly between Sorbello, Kiszka, and Turpin. The song’s epic solo that spotlights Kiszka and Turpin is a legendary dispute where the guitars speak to one another in a clash of strings and wits but Sorbello is a heated, dynamic force on the kit throughout the entire piece with a momentum that refuses to cease or dial things back. Heels of the Hunt also gives a nod to Kiszka’s association with pirates and the life of said swashbucklers according to fans, referencing things such as rum and anchors in the lyrics. The main gist, however, is about freedom and perhaps leadership as “I’ll sing your song ‘til the world turns dark. So if you're born to love and long to be free, sing your song now and come with me” is often repeated throughout the song.
As much as I hate to say it, Mirador has left me very conflicted. The vocals and approach at such a thing were a decently big let-down for me but that’s only because of production - nothing to do with the direct band members. The writing and instrumentation were beautifully done and clearly come from a place of true passion and originality. Unfortunately, this gets lost in the plot at times because of Cobb’s style that muddles the quality of Kiszka and Turpin’s vocals. Many may argue that it’s just an acquired taste or that it’s “raw” but I heavily disagree. I’ve seen this undesirably distorted technique in many of Cobb’s past projects no matter the genre, which were also subtly disappointing. Live, the group is fantastic from all corners and puts their money where their mouth is through their artistry so I encourage any listener whether you enjoyed the album or not to catch a show if you’re able (or watch some live tapings as an alternative). Moving forward, I can only hope and wish for an evolution of sound and production similar to what we’ve seen in both Greta Van Fleet and Ida Mae.
After the release of Mirador, the band has a string of live shows in cities such as Austin, Los Angeles, Salt Lake City, Berlin, Paris, and Dublin with opening act Linka Moja. Moving forward, the band’s plans remain a mystery although there are rumors of new Greta Van Fleet works en route but only time will tell. For now, Mirador the album is available for digital download and streaming.