Mira

Apart (Projekt)
by Jamie Kiffel

Promenading alone through old Canterbury Cathedral, you whiff a pinpointed cry from the highest vaults – birds? Angels? – so sweet it stings, melancholy with the smell of September and dust. Pricked to the gut, you double over in overwhelmed genuflection.

This is Regina Sosinksi’s ice-eyed soprano: the polished, open pipes of reverence, hurt and wonder that haunt the tracks of Mira‘s Apart. Her voice, soaring high over the rabble of plain, sometimes plodding guitar and bass, makes spending time with urchin instrumentals worthwhile: It’s like hearing the scales of a young opera singer, long dead, still practicing inside the pipes of an old organ. Thanks to a reverb mix that turns her into a living vibraphone, Sosinski’s tones ring inside themselves and, instead of filling the room from the stereo out, seem to spiral out from within the listener’s head. Perhaps this would be Tori Amos if her body were a hollow tube. Sweet like an aged soul, this voice could perfume a mummified Goth scene.
(www.projekt.com)