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Wielding the purest voice of anyone on the Pacific Northwest indie scene, Mirah Yom Tov Zeitlyn has become the token female singer-songwriter on Calvin Johnson’s proudly lo-fi K Records label, and is probably more famous for her work with Phil Elvrum’s psych-pop band The Microphones than she is for her solo work. Her third album, “C’mon Miracle,” should set things straight.

Founded on standard strummed folk pop, Mirah’s songs rarely cover the same thematic ground twice and never less than intelligently. She gives as much careful thought to the tragic history of Jerusalem as she does to the dogs of Buenos Aires, and her love stories are worthy of Ann Beattie at her driest. The production expands on the sophisticated arrangements and experimental sonics of The Microphones’ albums, but Mirah’s pliant soprano, which can stand up to hard rock distortion as easily as it can deliver a cocktail ditty, is what gives the record its stylistic breadth and emotional depth.

The Japanese edition also includes her second album, “Advisory Committee” in its entirety as a “bonus.” Compared to the new one, it’s only a mini-miracle.

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