(Taped Crusaders) A simple guitar chord structure played through a select array of effects seems to distort the sound almost pleasantly. Almost. Very loveliescrushing. The first track, the title track, seems perhaps a little uncertain in what direction it wants to go. The recording doesn't seem to want to help here, a little too muddy. The track "A Thousand Small Boats" is an improvement, allowing a natural feedback to rise and fall around the simple chord-melody. The slow buildup of these sounds gives the track its evocative nature, the feel of a shimmering ocean teeming with slow life. It seems, though, that this music is hit and miss, not always able to bring off such flowing images. As much a victim of its own limitations as it takes advantage of them. It works best when allowing the sounds to drone and take their course, rather than working on manipulation from the guitarist.

(Cyclic Defrost) Mitre produces gorgeous warm ebbs of heavily reverbed dreamy guitar on this amazing twenty minute 3” cd. Whilst the opening title track is almost anthemic in it’s simplicity and shimmering beauty, clocking in at ten minutes plus it’s the type of tune that’s perfect to just lie back and allow it to wash all over you, allowing the all encompassing drones, tones and gentle pockets of feedback to provide a warm squalling cushion around you. Whilst the interlude consists of quaint gentle almost cowpoke picking, the final cut takes on that grand sumptuous almost zen like quality, allowing the guitar tones to warble gently across the atmosphere. Mitre is the picture of restraint, harnessing the guitar to some soothing tones and in doing so providing a peaceful almost new age calmness and spirituality.

(Funprox) Again Mitre proves that the US have a long and great tradition it seems when it comes to guitar drones. Mitre builds beautiful layered drones with his guitar, creating music that might be compared to big names such as Stars of the Lid and Windy _ Carl. A great release in this series, making me curious what else Scott Richardson is responsible for, and how his sound will expand in the future.

(Heathen Harvest) “Sympathy for Agamemnon.” The track is wholly comprised of electric guitar. There is no hint of the dense electronic ambience the listener just left behind. The song is thick and dreamy. It communicates a sense of relaxation and sadness. The guitar is strummed slowly and the sound is infected with a sense of lethargy. The melodic guitar strumming is accompanied by a heavy dose of reverb and feedback. The commencing stew of sound is thick, syrupy, and tinged with a sympathetic emotional feeling. This selection is a real contrast to the solely electronically generated sounds of the preceding artist Bokor. Mitre brings a definitely human feel to these ambient realms of emotionless and soul swallowing drones. Mitre’s second selection is tilted “Interlude.” “Interlude” is an emotional journey led by two electric guitars played in vary different ways. One guitar is gently strummed to produce a beautiful melodic harmony. The second guitar is played in an ambient/metal approach. The guitars ability to sing and whine is exploited. This contrast in playing styles gives an emotional accompaniment to the strummed electric guitar. The two guitars lock onto the same emotional wave and perform a stunning dance of dreamy emotional music together. The ensuing music is acoustic and human while retaining an ambient identity. Mitre’s last track is titled “A thousand small boats.” This third track shows yet another side of Mitre’s sound as they play a more familiar ambient song. This song includes guitar rather than being composed for guitar. Numerous ambient and electronically generated sounds swirl around the guitar at the center of the song. The song is hypnotic and weaves a spell that suspends the listener in an elevated emotional state. While deeply relaxed the song inspires a relapse in memory and recollection. A sense of remembrance for thing past and things lost emerges from the music. Childhood, innocence, and the games we played as the sun set and rose….At last with a gentle nudge Mitre releases us into the light.

(Ampersand Etcetera) Mitre's Sympathy For Agamemnon' is a guitar album of poised beauty. The opening title-track hides some guitar inside rolling pulses of reverbed strum with a slow melody in – slow and stately, it loops into a drone rumble that builds and varies surrounding a full feedbacky guitar solo, keening, as additional drone layers are suggested at times. The guitar squelches before a rumble drone out. 'Interlude' is short, a simple guitar solo over some Fripp-like long tones. Then 'A thousand small boats' where bagpipe-like drones cycle and weave with sitar-guitar that plays repeated motifs and longer melody. There is also some sine wave in there and the guitar emerges cleanly in the last minute or so. This is not demonstrative, but a fine short collection.

(Touching Extremes) This "mini-record" starts with the title track, made of conventional distorted guitar chords whose frequencies are mid-to-low, bathed in a pretty long reverb. That would seem to prelude to pretty usual material, but Mitre keeps his surprises coming after that; in fact the second track, "Interlude", is a delicate piece that had me somehow remembering Fripp and Eno's "Evening Star". The final "A thousand small boats" is the best part: his droning approach is beautifully involving and helps your brain getting into the void. I believe Mitre can do something extremely good if he bases his future releases on this last segment.