Myra Davies

Originally an art historian, Canadian spoken word artist Myra Davies found a new medium for her creativity when she connected with Berlin's tight-knit experimental music scene. While helping to curate performers for Expo '86 in Vancouver, British Columbia, Davies met <a href="spotify:artist:5Mu0EMEsUIVE132pNMywns">Skinny Puppy</a>'s Nivek Ogre, who introduced her to artists including <a href="spotify:artist:7KomCxZv6D5qCVvefwMnwB">Einstürzende Neubauten</a> and <a href="spotify:artist:1T48eW2iZNOo834wEdlopV">Gudrun Gut</a>, who became Davies' longtime collaborator. Starting in 1991, the duo worked together as Miasma, and released three albums on <a href="spotify:search:label%3A%22Moabit+Musik%22">Moabit Musik</a> (1993's Miasma, 1997's Miasma 2, and 2002's Miasma 3) and also created multimedia performances. Later in the 2000s, Davies continued to make music under her own name and expanded her roster of collaborators to <a href="spotify:artist:25GehevFzkGXtRkCcUx2dx">Beate Bartel</a>, <a href="spotify:artist:7yRg26OvUSHv5dQOqlS0Px">Alexander Hacke</a>, and Danielle de Picciotto on 2008's The Girl Suite EP and the full-length Cities and Girls, which was nominated for Best Album at the 2010 Qwartz Electronic Music Awards. Davies returned with new music in 2017 with Sirens, which also featured <a href="spotify:artist:1T48eW2iZNOo834wEdlopV">Gut</a> and <a href="spotify:artist:25GehevFzkGXtRkCcUx2dx">Bartel</a> as well as a series of tracks responding to Götterdammerung, the final opera in <a href="spotify:artist:1C1x4MVkql8AiABuTw6DgE">Richard Wagner</a>'s Ring Cycle. ~ Heather Phares, Rovi