Musique Machine Reviews

14th Annual Olympia Experimental Music Festival
Image by Dead Air via Flickr

From Musique Machine:

Peter Garland – Three Strange Angels
Peter Garland is American post minilist composer with a fascination for American Indian and Mexican musical/ rhythmic elements, & he’s been making poignant, rhythmic, ritual, alien and dramatic sounding music since the early 70’s. Three Strange Angels is highly consistent, varied and rewarding collection that brings together work from the 70’s through to the early 90’s.

Myra Davies – Cites and Girls
Cites & Girls is a entertaining and creative collaboration between Canadian spoken word artist Myra Davies and German electronic artist Gudrun Gut who is also the head of the female focused experimental label Monika Enterprise.

Thou – Peasant
Thou make a brand of gut rumbling doom/sludge with a distinctive American tinged flavour to it, adding in elements of bastardized country rock, grunge, dramatic/ atmospheric American rock and blues. Peasant is this five pieces second album.

Windy & Carl – Songs for the broken Hearted
Songs For The Broken Hearted sits wonderful between shimmering slow-core with smudged /haunted vocals and ambient guitar /synth scapes. With the album as a whole working as a wonderful sonic distillation of emotional sadness and break down in the autumnal seasons.

Antony Milton – The End of This Short Road
Antony Milton is a musician from New Zealand known for creating sometimes noisy experimental music, and for his excellent PseudoArcana label. The End of This Short Road was released a couple of years ago, and it deserves a fresh look. Most interesting is the fact that most of the album was recorded in 2000, and was kept in storage for several years. Milton didn’t believe the music represented enough of a challenge to the listener, as he had become enamoured with more avant garde, free music. Regardless of Milton’s thoughts on the matter, it seems he simply let the dust gather on a more than worthy collection of tunes and experiments. It is a bit derivative of the late eighties/early nineties Xpressway label scene. But with plenty of distance between that era and now, it merely makes for a refreshing reminder of how great some of that music was.

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