by Ben Hogwood

What’s the story?

The tale of Michael Gold is a compelling one. The singer-songwriter, who records as Mirror Tree, is a pilot, flying a 737 for a major airline out of Los Angeles. Yet he also belongs to a musical family tree of impressive lineage, his mother being Grammy-winning singer-songwriter Sharon Robinson and his godfather a certain Leonard Cohen.

For a while his route into music looked unlikely, with pilot duties taking him into remote Alaska – but it was while flying across the remote American wilderness that he began to hear music afresh, and in particular bands such as Stereolab and Broadcast.

Returning to L.A., Gold began writing and recording, working with former Poolside bandmate Filip Nikolic. The two dragged Gold’s Farfisa organ out of storage, and it became an integral part of the album’s sound.

What’s the music like?

The Farfisa makes all the difference. With clever use of reverb and perspective, Gold and Nikolic use it to add perspective but to add a layer of musical dust to each track, the listener almost shaking sand off their shoes. This feels like outdoor music as a result, and with a lovely sheen and hints of psychedelia added to the production, the sound is an extremely pleasant one.

The clincher, however, is Gold’s voice, an easy-going instrument that is slightly husky and delivers the lyrics with warmth and a little charm. Another Day is a beauty, dappled sunlight sneaking through the trees as a backdrop to the vocal, while Echoes Competing is similarly sunny, its coda a singalong moment. The hooks Gold uses can pass the listener by on the first one or two listens, but give it time and the album really starts to make its mark.

Let It Go looks up at the moon and stars with tired eyes and an old piano for company, while during the carefree Tuesday it’s easy to imagine Gold soaring above the clouds. Similarly with Along For The Ride, which takes to the wing on vocals that could have been crafted as part of late-1960s psychedelia. The Stereolab and Broadcast influence can be heard in a good way, and the Farfisa creates a series of musical mirages.

Elsewhere layers of guitar create a warm musical bed for songs such as In A Day, where the organ is manipulated to sound like a flute ensemble. Meanwhile 300 Miles bends the sound off pitch slightly, creating a distinctly Eastern feel.

Does it all work?

Largely, yes. This is charming pop music with pastoral and psychedelic overtones. The album threads its themes together nicely, and while occasionally it’s a bit too woozy – and maybe a song or two long – Gold spreads the warmth of his music a long way.

Is it recommended?

It is. Mirror Tree uses a combination of thoughtful and often blissful songwriting with imaginative instrumentation, and it proves difficult to resist.

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