Mythos (1998), 6.5/10
Eternity (2002), 4.5/10
Dietro la sigla Mythos si nascondono i canadesi Bob D'Eith e Paul Schmidt.
Vivono entrambi a Vancouver e hanno alle spalle carriere gloriose, in
particolare nel campo delle colonne sonore.
D'Eith, di formazione jazz e classica, ha vinto premi prestigiosi
come tastierista e ha militato nel complesso rock Rhymes With Orange,
che ebbe almeno due hit, Toy Train (1995) e I Believe (1995),
e registro` due album,
Introspection (Spark, 1996 - X.25, 1997) e
Iridescence (Spark, 1997).
Schmidt, otto anni piu` giovane, ha studiato chitarra classica al Conservatorio.
I primi nomi che vengono in mente sono Enigma, Delirium e Deep Forest.
Mythos (Higher Octave, 1998) is a kaleidoscopic collection that challenges genres and cliches by juxtaposing conflicting ideas and sounds. The hypnotic exotic electronic shuffle of Brazil sets the pace and the technique, by fusing forceful drumming, ethereal vocals, lush electronics, Spanish guitar in an organic whole. The epic/nostalgic melodies of June as well as the sweet lament of Angels Weep (perhaps the melodic zenith) and the neoclassical piano sonata of Introspection state the depth of emotion. Sometimes (Sunless Sea, Paradox) all of this simply coins an emphatic form of soft melodic music. But elsewhere the game gets trickier: Planinata couples Enigma's existential angst and an uplifting flamenco-like rhythm; and The Odyssey plays sinister monk-like chants against a romantic guitar.
Eternity (Higher Octave, 2002) applied the same technique to dance music: Ascent is the same kind of exotic electronic music, even enhanced with vocals and a string quartet, but propelled by a loud disco beat. Mythos is only occasionally successful in this new format (Turn To Grey), and variants for the jazzy lounge (Alpha) are not particularly exciting.
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