Mythos Albums (12)
'The Dark Side Of Mythos'
Release Date 1/1/2000
Tracks 8
Label Pastels
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What The Critics Say
This is no industrial or darkwave album, as the title could suggest. Only the cold and clear sounds differ from most of the last Mythos releases. Gregorianic chorale, bells, and thunder are accompanied by only few floating, sometimes ghostly sounds. Though most tracks would not work as a horror soundtrack, because of the nice melodies and the harmonic mood. ~ Klaus Kehrle, All Music Guide
'Le Printemps Mystique'
Release Date 1/1/1999
Tracks 8
Label Art & Music
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What The Critics Say
Le Printemps Mystique is a little more rhythmic and active compared with the last Mythos releases that were quite solemn and slow, though it still has some Asian sounding and slowly developing tracks. Compared with Purr-Symphony and Sound of Silence and Harmony, Le Printemps Mystique is the better alternative for the listener who does not look for a background music for meditation more or less. ~ Klaus Kehrle, All Music Guide
What The Critics Say
Wintermezzo is a successful attempt to express arctic landscapes through music. Pearly chords and cold metallic sounds remind of the falling snow, though the tracks are always melodic and harmonic. Slow tempi, repetative nice little melodies, and room for the slowly evolving voices give a good impression of the ice-covered sea and land. The desert, where only the howling of huskies, like in "Husky Trail," could break the silence. ~ Klaus Kehrle, All Music Guide
What The Critics Say
New age electronic music can give different impressions to every listener. "Magic Black Forest" could be named "The Great Chinese Wall," and "Indian Monsoon" also really sounds like this. Except for some more rhythmic parts, there are not many differences in contrast to the previous release. The CD features similar wide synthesizer sounds, slow tempi, glimmering chords, and very harmonic phrases; according to the motto of Stephan Kaske, "If 140 bpm stand for daily stress and the mainstream charts, I prefer 14 beats per minute." ~ Klaus Kehrle, All Music Guide
'Sound of Silence & Harmony'
Release Date 1/1/1995
Tracks 5
Label Art & Music
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What The Critics Say
In 1995, this album marked a new period in the music of Mythos. As the subtitle says, it is the first meditation/new age release of Stephan Kaske. A mostly Asian mood is created by softly pulsating, often bell-like sounds and the use of nature samples. The melodies have time to develop in the floating, slow-motion tracks. This is certainly a suitable album for meditation, but judging it as a listening experience alone leads to a discrepant impression. Sometimes the sounds and tunes tend to be too beautiful and smooth, and only create nice background music. ~ Klaus Kehrle, All Music Guide
What The Critics Say
The second album of the last Mythos lineup follows the trend of Strange Guys with hard rock guitars and songs with longer instrumental parts. The flute is used more frequently and sometimes takes the lead voice. There are still some spheric parts and new ideas like the voice of a female opera singer on "Ulysses B. Smart," a song that slowly evolves in the applause of a big audience in the end. The title track is a space rock epic reminding one of Hawkwind. Maybe Concrete City is the most commercial Mythos LP, with good songs, but nevertheless was overlooked by the music press. ~ Klaus Kehrle, All Music Guide
'Mythosphere'
Release Date 1/1/1990
Tracks 14
Label Selected Sound Carrier
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What The Critics Say
Mythosphere in 1990 was the first full-length album after a long recording break and is certainly the most varied of all Mythos releases. Compared with Grand Prix, which followed a similar concept, it has the distinction of better compositions and more up to date sounds. Don't be scared away from the somewhat stereotypical song titles, as Mythosphere has some interesting music to offer. The styles reach from aggressive double-bass attacks with distorted guitar and cold, nearly industrial samples to pop songs without words and synthy pop reminiscences. There are some tracks that tend to the mid-'90s new age sound of Mythos, too. ~ Klaus Kehrle, All Music Guide
What The Critics Say
Even more than Quasar, Grand Prix somehow stands between various styles of electronic music. The album is a little incoherent and cannot really decide for a direction. The title track and the vocoder voice remind one of Kraftwerk in "Grand Prix," while some folk-like melodies recall the music of Mike Oldfield. Tracks that sound like early synth-pop underlaid with dance grooves alternate with quiet and relaxed music that perhaps lead over to the new age sound of Mythos over a decade later. The guitars have disappeared completely and beside the vocoder voice effects the tracks are mainly instrumental. ~ Klaus Kehrle, All Music Guide
What The Critics Say
Quasar in 1980 is the first release of Mythos as a solo project of Stephan Kaske. The intro sounds like an electronic version of Jethro Tull. Although the dominant instrument is the synthesizer, Quasar is not like the classic '70s epics with 20-minute tracks and no clear structure. Vocoder, flute, synthesizer, and occasionally distorted guitars are used in some tracks. Most songs have a dark mood, with chirping and chugging sounds, strong leads, and rhythmic basslines and drum grooves. ~ Klaus Kehrle, All Music Guide
What The Critics Say
Strange Guys marks the change from the early-'70s cosmic sound to more basic music. "Aeronaut" already starts with a distorted hard rock guitar; the tracks get shorter and are more like usual rock songs with long guitar solo parts, sometimes using a talk-box that triggers the guitar sound by the voice. The wide synthesizer and Mellotron arrangements disappeared, therefore, the synthesizers were used for effects or strong and rhythmic voices mainly. Also, the lyrics got more down to earth. Beside some typical fantasy stories, they deal with daily life and dreams of musicians. ~ Klaus Kehrle, All Music Guide
