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MYTHOS emerged from the Berlin underground scene in 1969. Less known than others german bands and artists as AMON DUUL, Klaus SCHULZE... they also signed their debut effort for the legendary ohr label. Their first two albums "Mythos" and "Dreamlab" represent Krautrock at its finest. The general mood of the band during that period was orientated to free space/psychedelic music with a lot of electric organs and keyboard parts. Their self title album includes acoustic and oriental elements as flute, sitar... which add a mystical flavor to the music. The following albums will be very far from the space, peaceful and strange music developped in the two first albums. The releases of "Concrete City" and "Strange Guys" show a new musical direction taken by the band, they turned to something more mainstream, synth, with numerous short songs. Nevertheless their two first are an absolute must for prog completists and all fans of Krautrock.

: : : Philippe Blache, FRANCE : : :

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The Best of MythosThe Best of Mythos
Adagio Music Inc. 2014
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MYTHOS discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

MYTHOS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.53 | 83 ratings
3.47 | 39 ratings
3.02 | 16 ratings
Strange Guys
2.56 | 14 ratings
Concrete City
3.36 | 14 ratings
1.09 | 7 ratings
Grand Prix
0.00 | 0 ratings
Surround Sound Evolution
0.00 | 0 ratings
Jules Verne Forever

MYTHOS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Superkraut - Live At Stagge's Hotel 1976

MYTHOS Videos (DVD, Blu-ray, VHS etc)

MYTHOS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

MYTHOS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

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MYTHOS Reviews

Showing last 10 reviews only
 Mythos by MYTHOS album cover Studio Album, 1972
3.53 | 83 ratings

Mythos Krautrock

Review by Atavachron
Special Collaborator Honorary Collaborator

2 stars Fairly spaced-out Krautpsych with lots of moaning and ethnocentric nonsense, the Mythos debut is a chore to listen to. But when has that ever stopped progheads from owning something with such neat-o cover art and cool band name? I suppose in '72 there were just enough altered states to make this a keeper, but in the light of the post-drug wake up call, it's a tidy forty minutes of lost souls, unwashed hair, the staggering odor of patchouli, and a hole where ten bucks used to be. This is what "stoner rock" was before it became what it is, and for that it deserves some credit. A drop.
 Strange Guys by MYTHOS album cover Studio Album, 1977
3.02 | 16 ratings

Strange Guys
Mythos Krautrock

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Who actually knows the truth behind Mythos' constant line-up changes?Sure thing is Kaske moved to the second half of the 70's without the help of Robby Luizaga or Hans-Juergen Puetz (he went on to join Touch).He didn't spend much time in finding their replacements, he actually added three new members, Sven Dohrow on guitar/Mellotron, Ronny Schreinzer on drums and Eberhard Seidler on bass.This Mythos quartet recorded the album ''Strange guys'' in two different, weekly sessions in November 77' at Dierks Studio and the album was released at the fall of the year on Dieter Dierks' own, short-lived Venus label.

Three different cores, three different distribiuting labels and three stylistical changes is the story of Mythos until 1977.These were some ''Strange guys'' indeed, or better said Kaske was the strange guy, as he refused to settle in a particular style and this third album finds his band attempting a blend of a classic Kraut Rock sound with more synth-drenched soundscapes and experiments, propably far from the true cosmic flavor of German acts of the style and more into a HAWKWIND meet ELOY style.The edgy and neurotic synth splashing of ''Aeronaut'' might give the listener the idea of Mythos becoming a late-70's progressive joke, but soon things will get better.There are too many styles in here to classify the album, the basic principle is still a Teutonic-inclined insistence on rhythmic textures with changing tempos and breaks into acoustic territories, propelled by the narcotic drumming and the mascular bass plays.But among the mass of these principles Kaske would introduce the epic atmospheres of ELOY from the ''Ocean''-era along with some sharper Hard Prog links, characterized by the fiery electric guitars and the odd synth lines.Occasional Folk and symphonic underlines are added via the flute and keyboard parts and the long tracks present a tight mixture of stylistical variations, performed with consistency and coherence and swirling around spacious and rockin' interventions.

This one belongs definitely among the most original late-70's prog outputs.It's spacious, energetic and even poetic music, but above all it's solid Kraut-Prog Rock with some fascinating instrumental work.Strongly recommended...3.5 stars

 Mythos by MYTHOS album cover Studio Album, 1972
3.53 | 83 ratings

Mythos Krautrock

Review by Tarcisio Moura
Prog Reviewer

2 stars A friend borrowed me this CD; the debut album of this obscure Berlin based band from the beginning of the 70´s. I´ve got to admit that this trio of guys were a skillful bunch, specially Stephan Kaske who could handle guitars, flute, zither and keyboards with apparently ease, and the ohter two were not far behind.

Their music is quite varied going from pastoral to heavy rock to electronic and so far. It would be great if they were put together, but actually those styles are featured on each track. So Mythoett is the pastoral bit, with flutes reminding me of Jethro Tull´s Bourée. Hero´s Death is heavy rock, while Oriental Journey is filled with sitars and (surprise!) eastern rhythms. Vocals are all electronic processed and they made me think of Eloy around the time of their Floating period, only even more on the fake side of it.

The second side of the original LP is more of experimental music, with only two trakcs, the instrumental Encyclopedia Terra part 1 being the most interesting, mixing elements of ambient/space rock/electronic with various sound effects. The second track has a long spoken story and both the theme and the music around it dated badly.

In the end I found this CD to be more promising than anything else. Clearly they were still green on the songwriting department. But since they proved to be capable musicians I guess I´ll look for their follow ups to see how they developed from here. As it is, this disc is clearly for the krautrock fans and collectors only.

Rating: 2.5 stars. .

 Dreamlab by MYTHOS album cover Studio Album, 1975
3.47 | 39 ratings

Mythos Krautrock

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Shortly after the release of Mythos' debut Harald Weisse and Thomas Hildebrand left Kaske as the only remaining member.Hildebrand went on to join Metropolis and he was replaced by Michael Krantz, while Axel Bauer was the new drummer.This new formation, established in late 72', was prooved to be short-lived and Kaske revamped Mythos with newcomers Robby Luizaga on bass/acoustic guitar/Mellotron and Hans-Juergen Pluta on drums/percussion.Working for about a year on a new album, Mythos eventually returned in 1975 with ''Dreamlab'', a work released on Ohr's division label Kosmische Musik.

It couldn't be a better choice of a label with Mythos presenting a largely different sound than on their debut, stripped down from the evident Classical influences and leaning towards a folkier direction, always surrounded by the typical Kraut Rock rhythmic tones.This time the focus is on psychedelic experiments, hypnotic soundscapes and pastoral arrangements with acoustic/electric guitars in evidence and constant use of flutes, delivering smooth textures with poetic singing and trippy synthesizers, which are every now and then overpowered by an already familiar JETHRO TULL attitude, based on harder electric riffing.''Mythalgia'', which is also the longest track, appears to be the only evident link with the previous album, although coming in a much more cosmic enviroment, featuring a more pronounced Mellotron, fiery flute drives but also a stretched, psychedelic soundscape with synth effects, pastoral flutes and acoustic guitars after the middle.Unfortunately Mythos would never reach the absolute inspiration of their debut, as this one's missing the unpredictable twists and tension of ''Mythos''.''Dreamlab'' has also a stronger Kraut Rock vibe with a bit of a loose execution and an obvious sense of abnormality during its pieces with nonetheless some clever ideas on combining Psychedelic Rock, Folk Music and Kraut Rock.

Nowhere near the monumental debut of the band.But this does not mean that ''Dreamlab'' is far from satisfying.It's well-played Kraut/Psychedelic Rock with powerful flute work and nice electroacoustic moments, not to mention Kaske's original voice.Recommended.

 Grand Prix by MYTHOS album cover Studio Album, 1981
1.09 | 7 ratings

Grand Prix
Mythos Krautrock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

1 stars What a nasty little history I have with this unfortunate album. When I first started getting into prog twenty years ago in the early 90's, I came across Mythos' 1981 album `Grand Prix' in a second hand record shop. It was in amazing condition, not a scratch on it, and the cover was in immaculate condition. Looking back, that was probably a sign. Anyway, I knew the name Mythos because of several defining albums they put out initially in their career, and at this early stage of my prog adventure, I wasn't yet aware to be wary of progressive related albums from this period. Words fail me of the horror I discovered on playing this, and a day later I cashed it back into the same store for a fraction of what I paid for it. You can read a bit further down my reasons for doing so.

Cut forward to late 2013, and `Grand Prix' is back on CD. Looking back on my early prog years, I made several mistakes by getting rid of albums I was simply too new to prog to appreciate - can you believe I cashed in Grobschnitt's `Solar Music Live' for a few dollars? I would kill for that album again now, or at least seriously maim - so I suppose part of me wondered if I'd made a similar mistake with this one. I had that ethical dilemma, the devil on one shoulder, an angel on the other offering advice. The angel, most likely a kangaroo with wings, was whispering `Oh, how bad can it be, perhaps you'll approach it with a new perspective and really enjoy it!' The devil, who now that I think back, actually looked just like this album, was urging `Go on, get it. You know you're dying to hear it...'. Sadly, Old Nick won out this time, and I've been able to relive the terror all over again, partying just like it's 1994 again.

Instead of grand Krautrock/acid prog, sole member at this point Stephan Kaske decided to model Mythos around synth pop, and especially then popular artists at the time in that field like Kraftwerk or even Yellow Magic Orchestra. The problem is, his interpretation of the style is the cheesiest, most childish muzak on the thinnest sounding synths ever, totally devoid of anything resembling progressive rock, or even intelligent electronic music that Tangerine Dream were making more accessible to the masses. This sounds like cheerful chirpy upbeat video game music of the time, in fact it probably would have better served as a fitting soundtrack to the latest arcade games begging for your coins in the local Fish N Chip shop. Almost every piece is up-tempo and poppy with impossibly weedy beatbox-like programming (often drifting close to disco territory too), and although essentially instrumental, there's occasional treated Vocoder voices mixed so low and badly that you cant even make out what they're saying. One track `Robot Secret Agents' (yes, really) features flat and pained lead vocals, and sticks out even more amongst the dross. But the new re-release offers two bonus tracks (curiously not mentioned on the back cover) that are better than anything else on the album, `Rockwarts' being more dark industrial and brooding, the spacey `Mellotron Mystique' floating and eerie, displaying all the subtlety and beauty completely absent from the main album. If these are from the same sessions, what a missed opportunity.

It's a shame, because buried so far beneath the lifeless plastic-toy synths, you hear the barest signs of potential. Whenever the sax and flute from Stephan show up (bits of `Transamazonica' and `Bermuda Dreieck' are quite nice because of this), or you get a quick flash of Mellotron, your interest picks up right away and you're given the slightest hope the album has turned a corner. But these moments seem like a demonic tease, as seconds later it's back to fluff. What's especially frustrating is that other Krautrock artists successfully moved into electronic territory, such as Ashra (`New Age of Earth' is completely faultless to me) and Cluster, to still make intelligent thoughtful music. There is no reason that Stephan/Mythos couldn't have aimed for a more ambient direction instead and retained some credibility. If Mythos wanted to head in a pop direction, that's fine, but at least they should have had strong material and memorable melodies to justify it.

I don't like making an easy target of albums with a poor reputation, and I'm all for progressive artists trying new things, but some albums are infamous with good reason. I really fail to see anyone enjoying this one, even fans of synth pop, let alone progressive rock listeners and followers of the band from their early albums. Someone needed to say to Kaske `No, Stephan'...At best, I can only recommend it for people wanting to hear how uninspired a once great artist can be. Hopefully the comeback album from 2012 sets things right again.

One star, but the bonus track on the CD reissue `Mellotron Mystique' is almost worth another star alone. Oh, and the CD booklet has several nice pictures...

 Concrete City by MYTHOS album cover Studio Album, 1979
2.56 | 14 ratings

Concrete City
Mythos Krautrock

Review by Neu!mann
Prog Reviewer

2 stars Like a lot of proggers facing the uncertain end of the 1970s the erstwhile Krautrockers of Mythos found a new lease on life in a less complicated musical style. But like many of those same proggers, that sudden burst of energy lasted for only one album, and this wasn't it.

"Concrete City" marked the first time in four tries that the same band had recorded consecutive albums: a smart move by front-man and mainstay Stephan Kaske after the more confident "Strange Guys" in 1977. That album struck a fine balance between creativity and compromise, but this effort sounds tired, like a forced attempt to work through writer's block.

The heavier sound of the previous LP continued here, minus the same enthusiasm. Titles like "Concrete City" and "Neutron Bomb" tried to cop a cynical Post Punk attitude, but the new album failed at Hard Rock in the same way the band in earlier incarnations almost but never quite located the essence of Krautrock. And the attempts at HAWKWIND-like Space Rock (in the title track, and during the smarter instrumental breaks of "Neutron Bomb") were even less inspired, in part because of the somewhat constrained production and mix.

But let's cut the band a little retroactive slack. The big, bad 1980s were within sniffing distance at the time, and for a survivor of the counterculture barricades the aroma couldn't have been very pleasant. Nothing here is truly "Love Beach" bad (or, using another yardstick, "Tormato" awful). But the tepid results should have been a signal to Kaske that he missed an opportunity to quit while he was ahead.

 Strange Guys by MYTHOS album cover Studio Album, 1977
3.02 | 16 ratings

Strange Guys
Mythos Krautrock

Review by Neu!mann
Prog Reviewer

3 stars It's no wonder Mythos was never able to gain any career traction. Guitarist / front man Stephan Kaske was always struggling to keep up with changing times, and when he reassembled the band yet again in 1977 it was the third entirely new line-up in three consecutive albums.

Received opinion says the band, like so many others, lost a step when they simplified their style at the end of the decade. I would argue the opposite, at least for this effort: that once he was out from under the influence of Kosmische Rock guru R.U. Kaiser (on the lam in 1977 after the COSMIC JOKERS scandal), Kaske delivered his strongest album to date.

The sound was far more commercial, to be sure, but at the same time more focused, showing more muscle and punch in a single song than in both their previous albums combined. And because the band (in whatever formation) never had a firm grasp on the underlying ethos of Krautrock to begin with, the shift to a more transparent style didn't seem like such a retrograde sell-out.

That newfound energy is immediately apparent in the opening "Aeronaut", a relentless guitar-and-synth rifferama that I wish had continued for more than its five driving minutes. But the sudden ending makes for an effective transition to the much calmer title track, where you'll find a lingering echo of the band's Krautrock past, in the haunting combination of delicate flute and acoustic 12-string guitar. Here and elsewhere the power chords give way to brief moments of almost pastoral beauty, reminiscent of early GENESIS but in a more Germanic minor key.

Stephan Kaske wisely delegated lead-guitar duties to newcomer Sven Dohrow, who does his macho Arena-Rock thing all over songs like "Aeronaut" and "Powerslide", the latter sounding not unlike HAWKWIND demolishing a discotheque. Kaske's insecure vocals were still a weak link, but with the much stronger instrumental backdrop his singing wasn't such a conspicuous liability as before.

The end of the 1970s were in sight, but for the time being there was more than enough touches of ersatz-Prog Rock creativity to hold a fan's interest: in the pinpoint tempo changes of "Mysterious Scene"; the quasi-Celtic vibe of "Terra Incognita"; and the JETHRO TULL-like jamming of "Backstage Fumble" (gotta love that unexpected, Teutonic doo-wop vocal interlude too...) The album artwork is crummy, and the title itself is a little misleading: these guys weren't strange at all, although I suppose it sounded more attractive than "Derivative Guys". But at the end of the day this will probably be the one Mythos album I return to most.

 Mythos by MYTHOS album cover Studio Album, 1972
3.53 | 83 ratings

Mythos Krautrock

Review by friso
Prog Reviewer

2 stars Mythos - st (1972)

The German progressive scene of the early seventies had it all; free experimentation and seemingly very little knowlegde about 'what music's supposed to be', in contrast with the English progressive scene that was way more exploratory and intellectual. The krautrock scene has a lot of interesting bands, but there's also a group of relatively untalented bands that was lifted by the zeitgeist and in my huble opinion Mythos is one of them.

Mythos plays spacerock with folk en heavy rock influences in a minimalistic three musicians setting. Full of reverbs and rythm and blues parts. The opening track is a rock interpretation of a classical peace with the flute as main instrument, 'Oriental Journey' has folk and space moments whereas 'Hero's Death' has heavy rock passages. On all tracks the vocals are false (though others would prefer the relatively artistic sounding 'atonal'), it hurts my musical brain. The second side is filled with minimalistic spacerock themes and some sounds of nature. During the ending section we get to hear a rather blunt science fiction story in spoken work, about a timetraveller who finds humanity is doomed in the long end.

Conclusion. This is an amateuristic but sometimes enjoyable spacerock record that I can only recommend to hardcore space- and krautcollectors and people who like obscure music for the sake of it (which is fine by the way). Two stars.

 Dreamlab by MYTHOS album cover Studio Album, 1975
3.47 | 39 ratings

Mythos Krautrock

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars A much more cohesive and aggressive offering than MYTHOS' debut, "Dreamlab" simply won't allow the listener to drift off or float up. The early PINK FLOYD influences are retained, and it's as if DSOTM never happened as far as MYTHOS was concerned, which is entirely a good thing. This was probably retro at the time, but the intervening years have barely furrowed a wrinkle.

New here are Stephan Kaske's flutes that are genetically modified versions of IAN ANDERSON's theoretical marriage to THIJS VAN LEER. Robust at one end and breathily romantic at the other, they are surprisingly melodic and on best display in the brief "Mythalgia" and the more involved and wondrous title cut. Still, the absolute stunner is "Expeditions, with its acoustic guitar and flute buildup, surprisingly purposeful and earnestly blended vocals. and reveling lead guitar in a manner that puts even JANE to shame. Where have you been all my life?!

Lest I give the impression that MYTHOS is all copy and no original, I should add that I believe "Dreamlab" played its role in the coming waves of ambient music and even the German symphonic and space prog that endured to the end of the decade. From the MYTHOS laboratory, this experiment came closest to fulfilling the dreams of investigators and fans alike.

 Dreamlab by MYTHOS album cover Studio Album, 1975
3.47 | 39 ratings

Mythos Krautrock

Review by Neu!mann
Prog Reviewer

2 stars Mythos was one of the also-rans in R.U. Kaiser's Kosmische Musik stable. But they did their best to match the psy-fi standards of the time, with a little help from the Kaiser's muse, Gerlinde 'Gille' Lettmann, aka 'Starmaiden' (please don't laugh), who was credited with "presenting" the band's second album, and who also no doubt had a say in Peter Geitner's cosmidelic artwork.

To an impressionable teenage boy (like me, when I first heard the album) the cover illustration of the two Aryan sex gods was probably more attractive than the music itself, which was never more than the tamest Space Rock. Dedicating a song to Wernher von Braun, the reconstructed Nazi-turned-NASA space cadet, was a convenient way for the band to fake its cosmic credentials, but the track actually contains the best music here, opening the album in certified ASH RA TEMPEL territory.

Too bad that model rocket ran out of fuel so quickly, descending to shallow fantasy wish- fulfillment in the two-part "Message" ("Listen to what we say! We are brothers, throw your weapons away!"), and the Hawk-windy "Expeditions". The latter track ends with some of the album's more effective guitar work, but the only real message in the former was an emphatic invalidation of Stephan Kaske's singing skills. It doesn't help that the mix was so poor: the drums are barely audible, and Kaske's flute tethers the music to earth in a way that might have worked better in a Jazz Rock context.

Side Two is an improvement, in part because the embarrassing lyrics were kept to a minimum. And veteran Krautrockers can safely assume the 'Harald' thanked in the album credits was the ubiquitous Harald Großkopf...that liquid cymbal sound effect heard in the song "Eternity" was borrowed from recent WALLENSTEIN albums, another band under R.U. Kaiser's controlling thumb.

With a little more determination Mythos could have rivaled Ash Ra in the German cosmic rock sweepstakes. Just because many other bands were doing the same thing better is no reason to completely dismiss them, but it's true: many other bands were doing the same thing better.

Thanks to ProgLucky for the artist addition.

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