If rock and roll is dead, Mirador didn’t get the memo.
On their self-titled debut, the duo of Jake Kiszka (Greta Van Fleet) and Chris Turpin (Ida Mae) resurrects something that feels ancient, cinematic, and mythic- like classic rock stumbled through the wardrobe into a folk-fantasy realm and came out stronger, more unique, and somehow more grounded.
The record opens with Feels Like Gold, a classic rock riff polished to a gleam and pushed forward by Jake’s signature tone. The bridge is weightless and ephemeral, a perfect contrast to the bluesy groove, before dropping right back into a howling vocal and guitar melody that plants the flag for everything to come. It’s a mission statement disguised as a banger.
Roving Blade steps sideways, opening with airy acoustics and spacey Western energy, if The Good, The Bad, and The Ugly took place in Middle Earth, this would be on the soundtrack. The production here is magic. You don’t just hear the song- you’re in the room, surrounded by the band. The vocal harmonies are rich and alive, and the solo is… well, just wicked. It dances between shred and soul, peppered with just enough effects to feel like a dream.
On Raider, the album leans into sci-fi-folk territory- vocals that sound like woodland spirits chanting, then suddenly spiraling into galactic blues-rock. The tempo drops into nothing but kick drums and vocal echoes before exploding back into one final rally. It’s impossible not to move to this one. You’ll bob your head so hard your neck might file a complaint.
Ok, ok… I’ll call you the raider.
Must I Go Bound is a different kind of showstopper. Delicate acoustic layering, poetic lyrics, and heartbreak harmonies make this the most emotionally affecting track on the album. Jake’s acoustic solo is restrained but virtuosic, letting every note breathe. There are synths humming in the background like ghosts- subtle but immersive. It’s my personal favorite, no contest.
The pendulum swings back with Fortune’s Fate, returning us to bluesy, all-out rock… but with enough breathing room to not jar the listener. The chorus is massive. The bridge synths layer in something otherworldly, while the solo drips with suspense. Every note in Jake’s solo in this track left me on edge wanting to hear the next note. The outro harmonies leave you floating. This is a great song to bring the listener back to center after the last track.
Then there’s Blood and Custard: yeah, what a name. This one feels like the band wrote it purely for the joy of jamming. The guitar work is riff-heavy and filthy in the best way. The bass really shows up here, thickening the groove and carving out its own space. The tempo shift halfway through is slick, and again, the production lets you feel every second of it.
Dream Seller softens things again with lush synths and delicate vocals, followed by Ten Thousand More to Ride, which brings the banjo into the mix alongside a standout bass performance. This track is deceptively simple, built on tight repetition, but it keeps evolving- layering just enough to keep the listener curious. Another headphone must. Also, is that banjo I detect?
Ashes to Earth hits the gas. The intro is gritty and fast. While listening I felt like I was speeding down a rural highway in a ‘69 mustang smoking a cigarette. I felt compelled to don my aviators to listen to this track. Then the chorus hits, and everything shifts into light and lift. The transitions between the hard-edged verses and beautiful chromatic choruses are seamless, and the solo is pure adrenaline.
Heels of the Hunt kicks off with a Bonham-style drum intro before falling into a funky groove where guitar and vocals literally dance with one another. This one feels alive in your ears- a physical experience you’ll want to turn up loud and just ride.
Skyway Drifter brings us near the end with swirling acoustics, pensive vocals, and a chorus that feels like standing on a cliff and breathing in the wind. The way the solo flows back into the chorus is pure elevation. The outro organ synth gives it a slow descent back to Earth.
Finally, Hymnal I closes things quietly. No vocals, no flash, just doubled acoustic guitars that speak for themselves. A perfect exit.
Throughout the record, Jake’s guitar tone is unmistakable- rich, expressive, and forward- but the interplay with Turpin’s vocals and songwriting gives this project something entirely its own. You can hear the chemistry between the two of them in every corner- from whispered folk to thunderous blues rock, from synth-streaked skies to rootsy acoustics. And it’s all wrapped in airtight, immersive production that constantly reminds you: you’re not just listening to this album, you’re in it. Throughout the record, I must admit that the synths sounded to me suspiciously similar to the ones used in the intro of Age of Man by Greta Van Fleet…
Mirador is a record that rides the edge of memory and myth. It’s soulful, soaring, and soaked in vintage tones without ever sounding like a throwback. It lives somewhere between the saloon and the stars, and that’s a very good place to be.
