Mystery

My Favorite Neo Prog Band

Québec band Mystery has produced a very consistently high grade of lush NeoProg since their founding in late1980s. Incorporating contributions from a consistently virtuosic number of contributors, including drummers Steve Gagné and, later, Nick D'Virgilio and Jean-Sébastien Goyette, vocalists Gary Savoie, Benoît David, and Jean Pageau, bassists Patrick Bourque, Antoine Fafard, and François Fournier, and, of course, founder/leader, mainstay and main composer Michel St-Père on guitars, keyboards, production, and just about everything else, the band has produced years of high quality performances as well as eight high quality studio albums--five of which have come in the last 14 years. Besides the high level of skillsmanship offered by each and every one of its contributors over the years, it's been the sound quality and compositional acumen that have been so impressive. Then there is the factor of Michel St-Père's extraordinary guitar playing: Like legendary guitarists Steve Hackett, Steve Howe, Allan Holdsworth, and Robert Fripp, he is a master of his instrument(s), a man whose solos are always the high point of every song, always the thing that I wait for as I listen to each song, rarely a phenomenon that disappoints. 

Ranking the Mystery Discography:

1. MYSTERY Delusion Rain (2015) - 91.46

2. MYSTERY The World Is a Game (2012) - 90.1818

3. MYSTERY Destiny? (1998) - 90.04

4. MYSTERY Redemption (2023) - 89.916667

5. MYSTERY One Among the Living (2010) - 89.42

6. MYSTERY Beneath the Veil of Winter's Face (2007) - 88.72

7. MYSTERY Theatre of the Mind (1996) - 87.30

8. MYSTERY Lies and Butterflies (2018) - 84.81

MYSTERY Theatre of the Mind (1996)

Despite having formed in 1986, this is the band's first studio release. (I don't know the band's story: why it took ten years to produce their first album; perhaps it's all about record companies, fresh material, and funds--and perhaps the band spent several years performing as a cover band while honing their skills and building up some experience and knowledge as to how to compose and perform their own material.)

Line-up / Musicians:
- Gary Savoie / lead & backing vocals
- Michel St-Père / electric, classical, 6- & 12-string acoustic guitars, synthesizers, producer
- Michel Painchaud / classical & acoustic guitars
- Benoît Dupuis / keyboards
- Richard Addison / fretted & fretless basses
- Stéphane Perreault / drums & percussion, drum programming, glockenspiel, synthesizers
With:
- Pierre Léger / string arrangements, flute
- Marie Lacasse / violin
- Marie-Claude Masse / violin
- Ahimsa Gilbert / cello
- Patrice Bédard / keyboards
- Gilles Peltier / synth Fx
- Serge Gangloff / synth Fx
- Sylvain Langlois / tenor & soprano saxophones
- Patrick Bourque / bass (7)
- Josée Larivière / backing vocals

- The Reality:
1. "Theatre of the Mind" (6:04) what sounds like pretty standard JOURNEY material with some skillful lead guitar work on display. (8.5/10)

 
2. "Lonely Heart" (4:30) the JOURNEY comparisons are even more appropriate for this saccharine classic rock ballad. Gary definitely has a great STEVE PERRY-like voice. (8.4/10)

3. "Peace of Mind" (4:49) acoustic guitar with flute gives this one a DAN FOGELBERG/DAVE MASON feel but as Gary's vocals move along the instrumental support grows in breadth and volume entering into more of the symphonic metal territory being explored by contemporary bands like QUEENSRŸCHE and IRON MAIDEN (though some of the Southern Rock sound from the opening is still being felt throughout the song). (8.666667/10)

- The Dream:
4. "Virtual Mentality" (1:18) nice, original intro/overture to this conceptual suite. (4.75/5)

5. "The Inner Journey" (Part I) (3:39) gently picked acoustic guitar with background synth washes and Gary Savoie's STEVE PERRY voice singing plaintively over the top. A nice composition that shows some nice maturity (patience) from the band. (8.75/10)

6. "Black Roses" (8:02) wind and wooden flute open this very cinematic tune. At times giving it an almost "Nights in White Satin" sound and feel. Gary joins in during the second minute and the whole feel changes--even moreso as the rock instruments enter and multiply. An interesting and entertaining song but a little too quirky and disjointed ("scattered"?) for my brain--especially with that wooden flute continuing to run its own race throughout the song, front and center--even garnering primary attention over the rock instruments and vocals! Plus, the lyrics leave a lot to be desired. (12.5/15)

7. "Rythmizomena" (1:51) percussives, tuned and untuned, form the gentle rhythmic foundation to this before electric bass and crazed disembodied spirit voices join in. The syncopated piece that develops feels like a rhythmic exercise (and perhaps should not have been included on the album). (4.2/5)

8. "In My Dreams" (5:08) more acoustic guitar picking with atmospheric synth & organ support for Gary Savoie's STEVE PERRY-like vocal. A nice venture into symphonic/orchestration land--and quite a divergence from NeoProg, prog, and metal music. (8.6666667/10)

9. "Believe in Your Dreams" (6:41) 80s/90s synth-backed three-chord hard rock. Nice but definitely sounds dated. More JOURNEY, TRIUMPH, or WHITESNAKE-like fare with some nice lead guitar and lead synth on display. (8.75/10)

10. "The Inner Journey (Part II)" (4:34) cinematic synth washes open this. Gary eventually joins in, singing a plaintive first verse before a bridge of reed instruments preps us for the second. Heavy rock instrumentation joins in during the second verse as both Gary and the full band's music takes on a Richard Addison's fretless bass play on this song is quite remarkable--a real highlight. (8.75/10)

Total Time 46:36

A bit too much of experimentalism here--as if this is a band that is still struggling to discover its own identity. 

87.30 on the Fishscales = B-/four stars; a nice addition of JOURNEY-like music that a lot of prog lover's will no doubt find attractive.   

MYSTERY Destiny? (1998)

Founded in 1986, the band had only released one studio album previous to this one. Obviously the band was still trying to solidify its identity much less a vision for itself.

Line-up / Musicians:
- Gary Savoie / lead & backing vocals
- Michel St-Père / electric, classical, 6- & 12-string acoustic guitars, bass, keyboards, producer
- Patrick Bourque / fretted & fretless basses
- Steve Gagné / drums
With:
- Olivier Demers / violin
- Serge Gangloff / special Fx
- Dré / "strange personalities"
- Anne Gangloff / French narration
- Diane Hébert / backing vocals (5)

1. "Legend" (2:42) affected schlock. (4/5)

2. "Destiny?" (4:56) nice music to support Gary Savoie's Robert Plant/Steve Perry-like vocal styling. I really like the clarity given to all of the guitar parts: the soundscape is not nearly as lush and pervasive as the band's future sound becomes. Quite an excellent song! (9.5/10)

3. "Slave to Liberty" (5:35) more excellent guitar-based sonic landscape--almost like peak WHITESNAKE ("Is This Love?"). Great vocals over really nice song construction. Really portentous of some of the great songwriting/production of the future. (9.125/10)

4. "Before the Dawn" (6:29) Gary Savoie masterfully sings to help firm the establishment of the band's tradition of great ballad deliverers. Solid. (8.75/10)

5. "Queen of Vajra Space" (9:20) pure RUSH/JOURNEY imitation. Nice guitar performances but otherwise too imitative. (17/20)

6. "The Mourning Man" (4:47) starts delicately but then bursts out as a kind of Caribbean-infused heavy metal hair band song. Some very impressive guitar playing from Michel St-Père. (8.666667/10)

7. "Submerged" (7:53) a very solid and fresh 1980s metal-influenced song with great performances from all.  (13.25/15)

8. "Shadow of the Lake" (14:55) another song that sounds very much like future Mystery: expressing a musical form and vision that is what becomes their own. Great composition with perfect performances and production--the attention to nuances is really wonderful. And Gary Savoie's vocal performance is perfectly matched to the music, never over the top or below grade. The middle section drags on a bit (could have been shorter) but the buildup, peak, and dénouement are top notch. I love that final section--and especially Gary Savoie's performance and Michel's long, protracted guitar outro. So emotional! One of the great prog epics of the 1990s! (28.75/30)

Total Time 56:37

90.04 on the Fishscales = B+/4.5 stars; a near-masterpiece of classic rock-influenced heavy NeoProg.

MYSTERY Beneath the Veil of Winter's Face (2007)

Only the band's third studio album since their founding in 1986, we find the band's heavier NeoProg sound being firmly committed to. This is also the album that announces the arrival of extraordinary bass player Antoine Fafard.

 
Line-up / Musicians:
- Benoît David / vocals
- Michel St-Père / electric & acoustic guitars, bass, keyboards, producer
- Patrick Bourque / bass (5,8)
- Steve Gagné / drums
With:
- Antoine Fafard / bass (3,4,9)
- Benoît Pépin / bass (1,6,10)
- Serge Gangloff / Fx

1. "As I Am" (5:41) nice music that chugs along while Benoît David's voice is mixed a little further back than will become the band's norm. Flashy electric guitar leads flourishing in and around the music throughout the second half. (8.75/10)

2. "Beneath the Veil of Winter's Face" (5:58) cool opening with some chant vocals and changing spacious motifs that grow progressively more dense as the song develops. (8.875/10)

3. "Snowhite" (4:07) Antoine Fafard's debut song with the band--and he is immediately impressive. The heavy, ominous opening motif turns off at the end of the first minute as the band chooses a lighter,  more keyboard-based palette to support Benoît's opening vocals. A nice return to the guitar-led heavy stuff for the bridge between verses. Man! Antoine is a bassist of a different ilk: his melodic playing is powerful enough to almost garner lead billing. Without a chorus (worded) the songs feels a bit incomplete, otherwise it's powerful. (8.75/10)

4. "Travel to the Night" (8:38) keys and guitars open this with a quickly-paced upper register weave before organ and bass take the song into almost RUSH territory--which is especially confirmed by Benoît's Geddy Lee-like vocal performance. Antoine Fafard is definitely making an impact on this band's sound! Weak BÖC-like chorus leads into an almost jazzy instrumental passage with the full band performing some intricately arranged weaves. At the midway point Michel St-Père's flute-like lead guitar shows up impressively. Then we move into a GENESIS-like passage within which guitars and keys really show off while the rhythm section (and especially Antoine) stabilize the low end with some truly motivating lines. Wow! Listen to that bass! It's a bit of a let down when the music returns to the vocal sections. (17.75/20)

5. "The Scarlet Eye" (5:35) a little tame and by-the-numbers after the previous two songs. Nice bass play from Patrick Bourque--and nice vocal arrangements. Michel's bluesy guitar licks start to pepper the vocal sections in the third minute yet Benoît's vocals have yet to be infused by any passion or emotion. Nice second part to the instrumental passage with bass, drums, guitars, and especially keyboards really clicking. The final vocal passage finds Benoît giving a little more effort but a little too little a little too late. (8.75/10)

6. "The Third Dream" (6:11) more fairly standard classic-rock infused fare. The song never really develops or reaches any exciting heights. (8.666667/10)

7. "Voyage to the Other Side" (6:24) I love the "distant storm" intro--even with Benoît's "distant" vocals. Cool stuff from Michel's guitar + fx. Shifts into gear in the second minute with some cool tom-tom work and even more pronounced guitar manipulations. Then Michel starts to wail almost unaccompanied before Benoît sings the next verse. Full band finally kicks in in the fourth minute with power chords and great lush melodic walls of sound--over which Michel really sizzles. There are so many fascinating threads within this song's weave! Definitely a top three song. Michel's first breakthrough song of this album. Bravo! (9/10)

8. "The Sailor and the Mermaid" (5:23) a beautiful little ballad both from the musical/melody perspective as well as from the vocal/lyrics/storytelling perspective. (Nice work Benoît!) A glimpse of another of the band's perpetual strengths. Another top three song. It's just so pretty! (8.875/10)

9. "The Awakening" (11:12) opens with gently picked/strummed solo electric guitar (seeming to continue the mood and key of the previous song). Benoît enters to sing a plaintive vocal with no little emotional investment. Tender lead guitar in the space between vocal verses, then the band kicks into full spectrum with a slow, heavy bluesy pace for a minute or so before then turning down a side road to seemingly chase a rabbit. But then just as quickly and suddenly they turn back to the previous plodding motif for Benoît to raise his game (and voice) with an intense commitment to an impassioned delivery. The music, unfortunately, rather drags--is bolstered by Benoît's wonderful performance--even when the instrumental solos begin to show up in the seventh and eighth minutes, there's just something in the plodding heaviness of the main flow beneath that seems to drag the instrumentalist's performances down (despite some great play by Michel). And I never get to hear Antoine flourish as he's always holding down the insidiously slow bottom end with his power chords. (17.375/20)

10. "The Preacher's Fall" (3:30) bursts into gear with the insistence of a Thin Lizzy song. Guitars and keys announce a melody before stepping back to make space for Benoît to belt it out over the chugging Lizzy motif. This is so much more like the old classic rock hair bands than Prog or NeoProg. (8.66667/10)

Total Time 62:39

88.72 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you're into the heavier side of the NeoProg scene.

MYSTERY One Among the Living (2010)

This is the album with which I first became aware of the Mystery sound--the rich, polished, emotional sound that, to these ears, epitomize all that is right with the Neo Prog movement. Replete with more-modern sounds that were pioneered by the Trick of the Tail and, especially, Wind and Wuthering albums and from which the Neo Prog movement was born, what makes Mystery such a delight to listen to is not just the wonderful standards set by their vocalists--here Benoît David--or the interesting and complex compositions of Michel St-Pére or even the great evenly-distributed performances by the instrumentalists or even the oft-soul-melting melodies, but, for me, the anticipation of waiting for each electric guitar solo offered by Michel. His guitar play is so amazing, so melodic though technically proficient, that I find myself perking up every time I see him guesting on other people's albums.

Line-up / Musicians:
- Benoît David / vocals
- Michel St-Père / electric & acoustic guitars, keyboards, producer
- Steve Gagné / drums
With:
- Dean Baldwin / guitar (13)
- Daryl Stuermer / guitar solo (14)
- Benoît Dupuis / keyboards (1,2,11,12,14)
- Oliver Wakeman / Moog solo (5)
- François Fournier / bass (12), Taurus pedals
- John Jowitt / bass (5)
- Antoine Fafard / bass (2-4,6-11,14)
- Richard Lanthier / bass (13)
- Claire Vezina / backing vocals (14)
- Dahlie-Yann St-Père / children laughter
- Damellia St-Père / children laughter

1. "Among the Living" (1:13)

2. "Wolf" (5:53) a solid, varied rocker with great vocal and great instrumental contributions spread among all contributors. Benoît David has such a gorgeous voice--in the league with the Journey and the greats of the 80s hair bands. (9/10)

3. "Between Love And Hate" (5:53) a pretty straightforward heavy rocker, power chords and all, highlighted by a powerful guitar solo in the fourth minute. (8.25/10)

4. "Till The Truth Comes Out" (9:25) a gentle, emotional Neo Prog song, complete with syrupy layers of imitation strings to build into the full band breakout in the third minute. Interesting time shift at 3:45 into a more dynamic, multi-instrumental instrumental section. Awesome! Wonderful performances by all. (17.75/20)

5. "Kameleon Man" (5:01) another heavy rocker, more in the vein of 1980s hair bands, spiced up a little by some awesome precision lead guitar work and Oliver Wakeman's CAMEL-esque Moog solo in the middle. (8.25/10)

- "Through Different Eyes" (suite) (22:34) (41.5/45): 6. "I. When Sorrow Turns To Pain" (3:56) standard fare, not Benoît's best vocal melody. (8.25/10) 7. "II. Apocalyptic Visions Of Paradise" (1:48) Hackett/Genesis-like instrumental interlude. (5/5) 8. "III. So Far Away" (5:51) tender, 12-string arpeggi-based. Pretty, nice vocal melodies. Builds to an awesome bass pedal crescendo. (8.75/10) 9. "IV. The Point Of No Return" (2:21) a spacey-industrial expression of war-like conflict. (4.5/5) 10. "V. The Silent Scream" (5:57) back to sensitive acoustic guitar-based, Benoît's vocal here is similar to modern RPI singers like Alessio Calandario--more straight-foward and raw, powerful yet vulnerable, emotional. Michel picks up the vocal melody with his electric guitar and does what we've really been waiting for: he soars. When Benoît returns, it is in a higher octave--soaring in a way to match Michel's guitar while those deep bass and bass pedal lows keep killing us. Michel really lights it up in the second half. Wow! Amazing! (10/10) 11. "VI. Dancing With Butterflies" (2:42) returning to the opening lyrics and themes, vocals expressing through multiple tracks, keys and guitars flying steady and free beneath, the song wends its way to a long, gorgeous dénouement and fade with seagull noises and children's laughter. (5/5)

12. "One Among The Living" (6:27) great sound from the start, very GENESIS-like, with Banksian keys and Hackett-esque guitar and Collins-like drum patterning. Even when it goes heavy at 2:30, the ensuing section is awesome and still very much in the Genesis-vein. Not my favorite vocal or lyric, definitely an amazing composition and sound. Best song on the album. (9.5/10)

13. "The Falling Man" (7:39) based on an ominous repeating 10-chord sequence of chunky bass and guitar power chords, Benoît sings in his best DEF LEPPARD voice while all instrumentalists do their best to promote and maintain that heavy substrate. A couple surprise twists are short-lived and only temporary tangents, the music always returning to that 10-chord base. Well done, great whole-band discipline. (13/15)

14. "Sailing On A Wing" (4:55) classic Neo Prog song, great vocal melody hook and awesome lead guitar work. (9/10)

Total Time 69:01

89.42 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and the album that skyrockets Mystery into the top echelon of Neo Prog.

MYSTERY The World Is a Game (2012)

This is a pleasant surprise--and my favorite Mystery album to this point. The musicians are all clicking on the same wavelengths, the songs are sufficiently constructed to raise this band from what I call "second tier" prog into the halls of the real thing. (Obviously, M. David has learned a lot from his experiences with other bands--most notably, YES. And Nick D'Virgilio continues to only get better with the years--his intuitive skill at meshing his drumming with the musicians and ideas with which he works is IMHO unsurpassed in present-day prog. Just look at what he did for BIG BIG TRAIN!) Aside from the two intro/interlude songs ("A Morning Rise" and "The Unwinding of Time"), we have here six meaty songs with mature compositional value and great sound production. This latter aspect is one reason I give this album the bump up to the five star level. 

Line-up / Musicians:
- Benoît David / lead vocals
- Michel St-Père / electric & acoustic guitars, keyboards, mixing & producing
- Antoine Fafard / fretted & fretless bass, acoustic guitars
- Nick D'Virgilio / drums
With:
- Marilène Provencher-Leduc / flute
- Damellia & Dahlie-Yann St-Père / children sounds

The second song, "Pride" (11:28) has a fairly simple construct and nothing terribly surprising--feeling like a cross between RUSH Signals-era and GENESIS And Then There Were Three:  lots of catchy melodic hooks and some awesome drumming--though the soft section at the eight minute mark  (beginning with the acoustic guitar arpeggio riff from "Midnight Cowboy theme) owes everything to maestro, JON ANDERSON (and a little of LOVERBOY). The individual performances are perfection and are especially noteworthy for the coheseive "team" feeling to it all. (19/20) 

The album's jewel, however, IMO, is the third song, "Superstar" (6:59) A laid back tune with heart-breaking melodies much in the same vein as MOTH VELLUM. The vocals, guitar soli, drumming, bass and keyboard work are all absolutely perfect! One of my Top 10 songs for Y2K12. (15/15)

The title song, (7:57) has its gorgeous parts--including the guitars and piano--but the vocal and melody lines feel a bit too syrupy---like the group AIR SUPPLY from the 70s and 80s. Even when it hits third gear at the four minute mark it feels too much like 707, STYX or JOURNEY (three of my "second tier" "prog-wannabees"). (12/75/15)

6. "Dear Someone" (6:21) has quite an awesome beginning (even if it reminds me of one of my favorite JOHN DENVER songs--or CHRISTOPHER CROSS' "Sailing"), which evolves into an equally gorgeous DEF LEPPARD-like section, thanks to an awesome electric guitar sound. Great melodies throughout this one--and some really hopeful, heart-warming lyrics. (I hear you, Benoit: I have children!) Incredible work sur le batterie, Sir Nick, from the fourth minute on! Love the electric guitar, flute, and drum interplay at the very end. (8.7/10) 

7. "Time Goes By" (6:04) has a bit more use of odd, thoughtful, melody lines woven together in an interesting and, I would guess, (for this band) risky way. The chorus melody reminds me tremendously of THE BUGGLES' "Rainbow Warrior". This one never really grabs me until the last minute in a half when the drums, bass, and guitar start playing off each other in an awesome display of instrumental "inter-PLAY." I appreciate this song's 'adventurousness'. (8.75/10) 

8. "Another Day" (19:02) is one of my favorite epics of the year--mostly because I feel so strongly as if I am back listening to the best stuff from COLLAGE's Moonshine or SATELLITE's A Street Between Sunrise and Sunset. I love the harpsichord feeling of the piano-12-string guitar pairing during the opening motif. The motif built in the sixth minute around the "Stranglehold" riffs borrowed from Ted Nugent are worthy of a few demerits, however. The seventh and eighth minutes are bridged by yet another borrowed classic rock riff but then devolve into a lovely dream-sequence before re-amping back up into that motif. Odd pairing of revolving motifs. The song's second half, however, is nearly flawless--with some excellent chords, bass playing, singing, and awesome work from Nick D'Virgilio! (35/40)

Total Time 59:58

The World Is a Game is not a masterpiece that propels the evolution of progressive rock forward, but it is a very solid, excellent sounding piece of prog ear candy--with some excellent group and individual performances. Definitely recommended for 'classic rock' and prog lovers.

90.1818 on the Fishscales = 4.5 stars; a minor masterpiece of NeoProg.

MYSTERY Delusion Rain (2015)

If Neo Prog has to be over-the-top bombastic, let it be like this band, Mystery, and this album, Delusion Rain, their best to date. Simply the best sound, best song construction, best lead vocalist, best tempos and best lyrical topics I can think of in the Neo Prog realm. So what if they sound like 80s hair bands WHITESNAKE, SKID ROW, QUEENSRYCHE, GREAT WHITE, DEF LEPPARD or BON JOVI. They have a clarity and consistency, a masterful command of melody and chord progressions and a solid confidence that puts them in your face but in an emotional, sympathetic way.

Line-up / Musicians:
- Jean Pageau / lead vocals, keyboards, flute
- Michel St-Père / electric & acoustic guitars, keyboards, producer
- Sylvain Moineau / electric guitar, 12-string acoustic guitar
- Benoît Dupuis / keyboards
- François Fournier / bass, Taurus pedals, keyboards
- Jean-Sébastien Goyette / drums
With:
- Antoine Michaud / guitars
- Sylvain Descôteaux / piano

1. "Delusion Rain" (10:04) A solid song that just never elevates itself into heavenly standards of memorability. (17.5/20)

2. "If You See Her" (6:11) A prog ballad by-the-numbers but done to perfection. The keyboard embellishments and restrained guitar soli (especially in the fifth minute) are wonderful. (9/10)

3. "The Last Glass of Wine" (6:47) Great pacing, great singing and lyrics, incredibly engaging chord progressions and melodic hooks, amazing sound and instrumental clarity, and hugely chunky bass, and yet nothing over-the-top or overdone. This is about as good as Neo Prog can get. (15/15)

4. "The Willow Tree" (19:30) A few choices misfire and a few opportunities were missed--and it may drag on a bit longer than it needs to, but, still, overall, another beautiful and wonderfully restrained presentation. "Have you seen your eyes" is definitely a brainworm. (37.5/40)

5. "Wall Street King" (6:39) Despite the cogent topic, pleasant opening and great fifth minute, this is one of the weaker songs on this otherwise stunning album. (8.75/10)

6. "A Song for You" (12:35) is a little on the cliché bombastic side, but I cannot argue with the gorgeous melodies, heart-wrenching chord progressions, tasteful guitar soli and amazing synth soli. Change the first 6:15 a bit and you have an outright masterpiece. (22/25)

Total Time 61:46

91.46 on the Fish scales = A-/five stars; a minor masterpiece and another wonderful contribution to the world of progressive rock music from these masters of Neo Prog.

Sorry, Thomas, but this, Delusion Rain, is the greatest Neo Prog album ever made. (Just kidding. That honor would have to go to either Moonshine or Seven.) If all Neo Prog were like this, I might like more of it.

MYSTERY Lies and Butterflies (2018)

I enter the first listen of any new MYSTERY album with no expectations. I am always surprised by the rich and consistent sound the band has used over the course of its career. This is the first time that that sound may be feeling a little old, a little tapped out.

Musicians / Line-up: 

Jean Pageau - lead vocals, flute, keyboards

Francois Fournier - bass, keyboards

Jean- Sebastien Goyette - drums

Sylvain Moineau - guitars, keyboards

Antoine Michaud - keyboards

Michel St-Pere - guitars, keyboards

1. "Looking For Something Else" (16:54) opens with crowd cheering and clapping before a "door-shutting" noise and acoustic guitar harmonics section and acoustic piano section ensue. It sounds like diddling around on stage while the concert fans empty from the stadium. After about 90 seconds the little impromptu rift is taken over by the full electronic band. Impressive cohesion, however, after another two minutes of this single arpeggio riff being repeated and bashed about, I find myself looking (hoping) for something new, a shift or variation. The music does empty down but flute and piano and acoustic guitar perpetuate the riff while Jean Pageau enters to sing. Piano and acoustic guitar continue to carry "the riff" while the instrumental lineup and dynamics go through some shifts. Chorus. Electric guitar solo. Return to full band and vocal push of "the riff." In the seventh minute things lay back again, though the bass remains thick and there is still an occasional power chord, so that Michel can really sink his teeth into a long guitar solo. It's okay; nothing very new or super-exciting. And yet it continues. For four minutes. Synths take a laid back turn in the lead. When things finally settle down in the eleventh minute, church organ leads us in, but then piano and acoustic guitars take back the lead in a soft, delicate "Confusion Will Be My Epitaph" section over which Jean sings. The King Crimson inspiration continues with flute and Mellotron (making it even more blatant) until things explode into full "orchestral" mode at 13:25. Nice vocal, nice lead guitar solo follow (still following the "Epitaph" melody lines). It's different enough that I can let go of the blatant "lift" of the music. Plus, the players feel so emotionally connected to this section. It's pretty damned good even if it is borrowed.  Great drum and bass play throughout. (31.5/35)

2. "Come To Me" (5:17) sounds too much like a WHITESNAKE song. Too filled with sonic and structural clichés; one or two catchy riffs or chord progressions do not make for a great song. (7/10)

3. "How Do You Feel?" (4:53) pretty chords gently played by multiple guitars and keys set up Jean Pageau for an emotional vocal--which he delivers in spades. Perfect power, perfect melodies, perfect lyrics. Great guitar work in the rhythm and solo departments throughout. A MYSTERY masterpiece. (9.5/10)

4. "Something To Believe In" (7:34) Oh, oh! A Colin Tench song! At least, that's what the opening suggested. The stripped down, country-rock verses bely something a little different but not far off my original impression. Man! Michel St-Pere can play guitar! Maybe even better than Colin could! Drums are a little too busy for my tastes, don't really work in this mix. Electric piano arpeggi segue into a new section with a bit of a classical feel--even guitars and flute maintain that feel. But then a power chord from the electric guitar serves notice of a return to rock 'n' roll. Joe Walsh-era EAGLES come to mind here. (11.25/15)

5. "Dare To Dream" (6:54) Synth-strings note and dated electric piano chords open this slow song before cymbol play and guitars join in to support the vocal. Again, the song stays in such conservative, formulaic territory that I find myself disappointed, even turned off. Great little guitar solo at the very end of the second minute. Both the verses and choruses are failing to bring me in. I'm so sad! Nice instrumental section in the fourth minute and usual great lead guitar solo in the fifth. Sensitive scaled back section in the sixth minute over which haunting synth solos. Vocals return in harmonized multiplicity but they aren't grabbing me! Such ambivalencies! (12.75/15)

6. "Where Dreams Come Alive" (7:26) electric guitar and electric piano arpeggi provide an opening background over which Michel's lead soars for a few seconds before we switch into second gear with chunky plucked bass line and syncopated drumming. The vocals enter over this. It's not working. Guitars and keys join in and still it's not quite clicking on all cylinders. Michel's occasional flourishes on lead guitar are magical but once again they cannot float or fly a poorly constructed ship. I would like to see more future compositions using more of Jean Pageau's flute. (12.75/15)

7. "Chrysalis" (15:08) opens softly before bursting into a long introduction of a theme that feels familiar from one of the previous songs. Things then quiet down in the second minute for some nice acoustic guitar work. A minute of this with support of synth washes and we're finally introduced to the vocal. There's a BLUE ÖYSTER CULT Spectres feel to this one (more specifically, "I Love the Night"). Song builds in the fifth minute and then breaks down for the delicate, heart-felt "Butterfly, spread your wings and fly" section. Then a sudden shift takes us into a heavier, metallic section of power chords, searing guitar, and almost growling vocal narration before Jean's more-projected vocal soars in the foreground. At 8:35 the dominant riff shifts to bridge us to another delicate, dreamy section (though a chunky bass continues at the bottom--as if to remind us that this is a scary story) with nice melodies from guitar and vocal. This is intermixed with alternating returns to the "Godzilla"-like guitar power chords. Even Michel's guitar solo over this heaviness has a Buck Dharma sound and feel to it! The twelfth and thirteen minutes maintain a nice albeit still heavy chord progression beneath which the drummer has some show-off time. Then we shift into a heavy yet full-orchestra feeling final section over which powerful Jean's vocal carries us to the delicate end. (25.5/30)

Total Time 64:06

84.81 on the Fishscales = B/four stars; a nice addition to any prog lover's collection (though not as good as some of Mystery's previous releases).

MYSTERY Redemption (2023)

Québec's NeoProg masters are back with their thirteenth album since 1992 and fourth studio album with the same lineup.

Line-up / Musicians:
- Jean Pageau / vocals
- Antoine Michaud / keyboards
- François Fournier / bass, keyboards
- Jean-Sébastien Goyette / drums
- Sylvain Moineau / guitars
- Michel St-Pere / guitars, keyboards

1. "Behind the Mirror" (6:46) it's been a while since I've heard Mystery's sound this thick, this heavy. It feels good. Solid. But not enough flash and dynamic change (except for from the drummer and bass player). Quite a solid song--one that reminds me of all that I love about NeoProg and Mystery in particular--but one that also reminds me of just how difficult it is to deliver perfect heart-melting melodies and/or chord progressions. (13.25/15)

2. "Redemption" (6:36) the incredibly full and deep bass is the key to the "new" sound. (8.875/10)

3. "The Beauty and the Least" (9:15) from the opening notes and chords one can sense that we're in for some of Mystery's very best song-crafting. The bass is, again, very full and heavy beneath Jean's melodies and the rest of the band's great chord progressions. The guitar solo at the end of the third minute, though brief, is among Michel St-Pere's best--and he is definitely one of the best--but this is quickly moved away from into a more pastoral weave of multiple guitar and keyboard arpeggi. Michel starts to wind up again within and over this two-chord passage, striking some truly epic bursts and moments. In the second half of the sixth minute, the band switches chord motifs--goes for a heavier sound--as drummer Jean-Sébastien Goyette gets to really shine within the walls of glorious sound. The eighth minute reveals a more 'tron-dominated Genesis-scape before emerging into what feels a classic Mystery "reveal" with Michel and Jean rising above the dense and beautiful heavy prog soundscape. Mystery doing what Mystery does best. (18.75/20)

4. "Every Note" (6:01) two chorus-treated electrified 12-string guitars provide the background support for Jean to sing a heart-wrenching vocal--whichis understqandable considering the wording of this powerful love song. But, despite continued amazing musical background throughout, I feel that Jean's investment in his message loses some of its depth and/or sincerity in the middle (but, thankfully, he regains a bit of it in the final climactic 75 seconds). Great music--especially the guitars--but the drumming feels a little over the top. (9/10)

5. "Pearls and Fire" (12:43) a "coming of age" story about a boy that is counseled by his parents to hold back his tears in order to "be a man" who then ends up joining the military to continue to prove his manhood. The ensuing description of Leo's war experience gets quite graphic as he is "caught in the crossfire" during a particular battle. The instrumental passage that follows this revelation is the best on the album so far. Prog at its best. In the sixth minute we come out of the mayhem of battle into a space of silence--used to sing about Leo's death. These are the kinds of passages in which both Jean Pageau and Mystery excel: encasing scenes of emotional weight in stunningly gorgeous music. The eighth minute, then, shows the band exploring some electronically-framed spurts of heaviness, coming out with a passage of keyboard-soloing over prime NeoProg. At the nine-minute mark we switch to a heavier version of a previous motif for some electric guitar soloing weaving in and around Jean's singing. (Man this guy can sing!) The sudden switch at 10:35 to a more 1980s sound palette and motif is short-lived, a bridge to another round of the current heavy motif, but it returns each time Jean takes a break from singing. The lesson of "Pearls and Fire" is that  no one can really control the outcomes/consequences of a young man's dreams. A very good though not really ground-breaking or earth-shattering epic of highly professional, proficient, masterful heavy NeoProg. (22.5/25)

6. "My Inspiration" (8:24) opens with arpeggio-picked multiple guitars like a setup for a heavy ballad. Jean joins in over the guitars and keyboard synth washes and tuned percussives while drums and bass hold back until the chorus. The drums and (awesome) bass remain for the rest of the song as Jean sings with no little emotion about his "inspiration." Several of the brief instrumental bridges in the mid-section feel quite Wind and Wuthering-era GENESIS-like (which is exactly one of the foundational definitions of NeoProg, isn't it?) Beautiful, dreamy, magnificent, pompous and bombastic. (18/20)

7. "Homecoming" (5:10) cool change-up with a multi-voice choral approach to the vocal deliveries over the opening 90 seconds. A long and heavy instrumental passage follows. The vocals rejoin (some solo Jena, some choral-crafted) with some excellent RICHARD WRIGHT-like keyboard work before Michel's guitar takes over. Very nicely (and differently) crafted song. (9.25/10)

8. "Is This How the Story Ends?" (19:11) opens with a couple of minutes of excellent msuic with the rhythm section feeling so tight, so polished, that I'm reminded of Phil Collins and Mike Rutherford at the absolute peak of their skills/powers. The instrumental passage beneath the dramatic narration in the eighth minute is among those sublime high points of Mystery's career. The final three minutes are about as classic 1976 GENESIS as one can get--so heavily dripping in Mellotron and bombast. (35.25/40)

Total Time 74:06

In my opinion drummer Jean-Sébastien Goyette and bassist François Fournier make up the best rhythm section Mystery have ever had and this, their seventh album and ninth year together, serves to capture their finest performance. I can listen to this music/album over and over in large part due to the amazing performances of these two. (Jean comes in a close second). Unfortunately, I think Michel extraordinary guitar skills never really hit the highs of previous albums--though they are always of the very highest caliber of skill and appropriateness. (It must be so hard to continually have to either reinvent your self/your style or try to top your shining moments from year to year, album to album--especially over a 30-year career and over 11 albums. The only other guitarists I've known to accomplish such a feat are Jeff Beck, Nick Barrett, and maybe Steve Hackett.) There are many pleasing, great moments of guitar play, but none so memorable of those I still get chills from during One Among the Living, World Is A Game, and Delusion Rain.

89.916667 on the Fishscales = B+/4.5 stars; a near-masterpiece of NeoProg--narrowly missing "masterpiece" status (though, who knows what further/future familiarity while reveal).

Mono

 My Favorite Post Rock Band

From Japan, I've been enjoying the music of this Post Rock band since I first discovered them upon my re-entry into Prog World in 2008. Their mastery of tremolo guitar leads, soul-piercing melodies, sparse, prolonged intros, all building to wonderfully satisfying crescendos is unparalleled in the Post Rock world. And, despite some line-up changes over the years--and some experimentation with styles and producers--their musical output has remained fairly consistent while their quality has steadily improved.

Ranking the Mono Discography:

1. MONO Nowhere, Now Here (2019) - 90.60
2. MONO The Last Dawn (2014) - 90.0

3. MONO Pilgrimage of the Soul (2021) - 89.54
4. MONO You Are There (2006) - 88.33
5. MONO For My Parents (2012) - 88.26
6. MONO Hymn to the Immortal (2009) - 87.60

7. MONO Rays of Darkness (2014) - 87.50

MONO Requiem for Hell (2016) - ??

MONO You Are There (2006)

(Formerly) My favorite of the MONO albums (before I heard the amazing The Last Dawn), I very much admire their overall approach to the Math Rock/Post Rock sub-genre: full of power and emotion, thick atmospheres with stellar instrumentalism. The guitar is especially powerful for its out-of-the-ordinary "soloing" feel as the pick or fingers rapidly, rhythmically pluck a single string while a single note sustains an then slides up or down the same string. Very talented. Drums entering at the high 'crescendo' parts are strong and yet do not overpower the guitars. Electric guitars in these parts are often very distorted.

Line-up / Musicians:
- Takaakira Goto / guitar, string arrangements
- Hideki Suematsu / guitar
- Tamaki Kunishi / bass
- Yasunori Takada / drums
With:
- Alison Chesley / cello
- Diana Parameter / cello
- Inger Peterson Carle / violin
- Thomas Yang / violin
- Susan Vøelz / violin, string arrangements

1. "The Flames Beyond the Cold Mountain" (13:29) (26/30)

2. "A Heart Has Asked for the Pleasure" (3:44) simple but pretty. (8.6666667/10)

3. "Yearning" (15:38) a long song that takes a few turns that almost lose me. As things begin to thicken and gain momentum in the seventh minute, I find the melodies quite satisfying despite the strings accompaniment sounding a bit like a Mellotron. Then the prerequisite calm comes at 7:30--but only briefly as the full wall of sound comes exploding back within 20 seconds--to great effect! I love the djenty low end (bass) and near-constant crash of cymbals. This tremolo guitarist is truly amazing! Then there is the unusual (for the Post Rock genre) prolonged comedown after the storm--a full two and a half minutes--to the song's finish.(26.75/30)

4. "Are You There?" (10:25) my first favorite Mono song. Such a starkly beautiful opening, two slow-builds and crescendos with another prolonged tender dénouement. (18/20)

5. "The Remains of the Day" (3:41) crowd noises and tremolo guitar in the background as child-like piano plays in the foreground. Very SIGUR RÓS-like. Beautiful if simple. (9/10)

6. "Moonlight" (13:04) gently tremoloed guitars with Fender Rhodes electric piano. Strings join in at the end of the third minute but they're a bit too uniform for my tastes--offering little that a keyboard couldn't provide. At 3:40 there is a return to the stark soundscape of two (or three) electric guitars interplaying. One goes tremolo while the other maintains the main melody and pace as the drummer begins to provide cymbal play. Female voice as if caught in a conversation in a café or kitchen appears in the background as drums and bass join in. The music is building as we reach the seventh minute--where the drums and orchestra issue full power (though not necessarily full dynamics). Walls of sound reach their fullest in the ninth minute but then the volume and power slowly begins to back off, one instrument at a time, until the tremolo-strumming distorted electric guitar is left as the main noise-maker. The main lead guitar maintains a constant dedication to the main melody to the end despite chaos and cacophony occurring in the genlty collapsing soundscape around him. Nice concept and construct though anchoring in that one melody for so long gets a bit monotonous. (22/25) 

Total Time 60:00

88.333 on the Fish scales = B/sold four stars; You Are There is an excellent addition to any prog lovers' music collection. 

MONO Hymn to the Immortal (2009)

Some may describe this album as "more of the same" from Japanese Post Rock/Math Rock maestros, Mono, and while it is similar or continuous with my favorite Mono album, 2006's You Are There, the music is still fresh and unique enough--and the Mono approach to Post Rock/Math Rock so pleasurable--that I still can only give this album my highest recommendation. It's great--and very emotional--when given your undivided attention, but also very pleasant as beautiful background music.

Line-up / Musicians:
- Takaakira Goto / guitar, string arranger
- Hideki Suematsu / guitar, Hammond B3
- Tamaki Kunishi / bass, piano, harpsichord, glockenspiel
- Yasunori Takada / drums, timpani, cymbals, glockenspiel
With:
- Jennifer Clippert / flute
- Mary Stoper / flute
- Dave Max Crawford / string conductor
- Paul Von Mertens / string conductor
- Strings ensemble / violins, violas, cellos & contrabass

1. "Ashes in the Snow" (11:46) standard Post Rock formula: soft opening, slow-build tsunami rise to full-scale crescendo, calm and repeat. Great second crescendo. (21.75/25)

2. "Burial at Sea" (10:39) more formulaic, albeit orchestrated, Post Rock. Built upon an okay melody. (17.25/20)

3. "Silent Flight, Sleeping Dawn" (6:00) a melodic favorite; very emotional. (9.125/10)

4. "Pure as Snow (Trails of the Winter Storm)" (11:26) spacious and delicate, even cinematic. (17.5/20)

5. "Follow the Map" (3:56) lap steel guitar leading the way over piano and lush strings orchestration. I like the way the band lets the strings step into the fore in the second half--Joe Hisaishi-like. (8.875/10)

6. "The Battle to Heaven" (12:51) droning guitar provides the background as guitar, bass, and drums gradually, slowly build a song around/above it. Low end note play leads the way for the first three minutes. I really like the "monstrous" uptake at 4:10. Nice drumming throughout. The song has nice swings and sways through different melodic octaves but overall it's a bit long/overextended. (21.75/25)

7. "Everlasting Light" (10:23) droning (tremoloed) electric guitar with near-classical piano playing over the top for the first two minutes. Awesome orchestral boost with the piano's "chorus" at the two-minute mark. When the rock instruments and orchestra build to the point of drowning out the piano (and almost the drums) it's pretty dramatic but not quite as melodic as some of their all-time great songs--though I do love the effect at the nine-minute mark when the high-end guitar playing drops to low (I can really hear the drums and orchestra then). (17.625/20)

Total Time 67:01

87.60 on the Fishscales = B/four stars; a wonderful aural experience. Great album art--one of the reasons I picked up the album in the first place. (This was my first Mono acquisition.) Definitely recommended to the Post Rock lover. 

MONO For My Parents (2012)

Master tremolo melody-maker Takaakira Goto issues a collection of songs contrived to bring up nostalgic themes that remind him of his parents.

Line-up / Musicians:
- Takaakira Goto / guitar
- Hideki Suematsu / guitar
- Tamaki Kunishi / bass, piano, glockenspiel
- Yasunori Takada / drums, timpani, gong, tubular bells, glockenspiel
With The Holy Ground Orchestra:
- Jeff Milarsky / conductor
- Yuki Numata, Courtney Orlando, Emily Ondracek, Patti Kilroy, Conrad Harris, Ben Russel, Caroline Shaw & Amanda Lo / violin
- Caleb Burhans, Nadia Sirota, Erin Wight & Jeanann Dara / viola
- Clarice Jensen, Brian Snow, Caitlin Sullivan & Laura Metcalf / cello
- Logan Coale / bass
- Shayna Dunkelman / timpani
- Yuri Yamashita / cymbals

1. "Legend" (11:51) sounds like a Russian promotional soundtrack extolling the virtues of their Siberian landscapes; very cinematic (it feels almost contrived to pull on psychological heartstrings). (21.25/25)

2. "Nostalgia" (12:05) the melodies here are a bit more engaging than the previous song but they're so simple and repeated to exhaustion despite the excellent build (too slow) and cataclysmic crescendo. (21.75/25) 

3. "Dream Odyssey" (8:03) piano and nylon-stringed guitar open this one (using the same pace and format as their other songs). After 90 seconds drums and electric guitar join in, gradually increasing their contributions. Very pretty and emotional. At 3:20 they start round two with electric guitar taking over the lead melody on its lower end. Very satisfying and complete if a little too simple. (13.5/15)

4. "Unseen Harbor" (14:04) another pleasant and nostalgic folk melody is built upon, over and over, with even a key change at 4:30 in the middle of the SIGUR RÓS-like orchestrally-expanded soundscape (which, to be honest, sounds a bit murky to my ears). Yasunori Takada's drum kit begins to play a more dynamic role after 5:40, but then everything cuts out and clears out at 6:40 for a two-guitar, strings-supported restart. Now this is quite stunning: the orchestra very clearly making their contributions heard--especially the timpani. At 9:05 the guitars shift gears, take up a different melody while one of them turns to exclusive tremolo style delivery. By the end of the eleventh minute the full band and orchestra have rejoined and the wave-like buildup to the crescendo gets serious with full tsunami flooding occurring from the 13th minute on. A pretty awesome composition. (27/30)

5. "A Quiet Place (Together We Go) (9:24) a song on which the orchestral parts have an even more significant contribution--sometimes even scored without any support or contribution from the rock instruments. I like the thought of Goto and company composing with orchestra first in mind rather than as an exclusively support animal (though this does make the music more classical/symphonic than rock 'n' roll). Beautiful song. (18/20)

Total Time 55:27

88.26 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you enjoy solid, nostalgic, symphonic Post Rock. 

MONO The Last Dawn (2014)

How this band stays beneath the radar I have no clue. Master ‘storytellers’ with their musical soundscapes, their music is always meditative, deeply emotive and, despite seemingly 'simple' song structures, the band always performs at a flawless level. 

      I realize that Post Rock is not for everyone--and I rarely find a Post Rock album to be worthy of the "masterpiece of all-time" status—but this dedicated, focused, persevering Japanese band may have achieved such a status with this 2014 release. And, with the inclusion of its companion release, Rays of Darkness, the deal may be sealed. 

     As described on their Facebook page, The Last Dawn is the “lighter” of the two albums and probably the more melodic and “prettier” of the two. It also reveals a scaled-back, slimmer lineup of musicians when compared to their releases in the mid and late Naughties. Yet the two 2014 releases offer quite a variety of instrumental companions—piano, tuned percussives—all the while remaining firmly reliant on their one consistent and remarkable trait: the heavily effected tremolo strummed electric guitars of Hideki “Yoda” Suematsu and Takaakira “Taka” Goto. The influences of Minimalists like Henryk Górecki, soundtrack artists like Ennio Morricone and Lars von Trier, and shoe gaze innovators like Cocteau Twins’ Robin Guthrie and My Bloody Valentine’s Kevin Shields are quite evident throughout the album(s). 

Line-up / Musicians:
- Takaakira Goto / guitar
- - Hideki Suematsu / guitar
- Tamaki Kunishi / bass, piano, guitar, glockenspiel
- Yasunori Takada / drums & percussion, glockenspiel
With:
- Andrew Simpson / cello
- Danielle Karpala / cello
- Emily Grace Karosas / violin
- Walker Konkle / violin

The Last Dawn starts out rather sedately with the quiet, spacious, rather low-key, “The Land Between the Tides/Glory” (11:35) The song begins its post-rock climb to climactic release in the third minute but then falls slowly and delicately after the seven minute mark—which, I think, marks the end of the “Glory” part of the two-part song. (Is this song—or album—an eulogy to WWII Japan?) (16/20)

2. Katana” (6:21) (10/10) marks one of the most beautiful post-rock melodies/songs I’ve ever heard—a feeling that continues through the next three songs, 3. “Cyclone” (6:24) (10/10) with its awesome bass grounding throughout and amazingly sustained peak at 3:00, and 4. “Elysian Castles” (8:11) with its gorgeous piano-based Japanese folk melody and ever-so delicately woven guitar and cello threads. (20/20)

5. “Where We Begin” (7:25) just sounds a little bit old and tired—like an old U2 song that pulses and rocks but never really goes anywhere. (10.5/15)

6.  “The Last Dawn” (8:37) contains some extraordinarily beautiful, slowly developing three-part threads woven into a rather brilliant and unusual harmonic tapestry. At 2:45 an almost Gospel plea arises momentarily from the tremolo-picked lead guitar but then just as suddenly disappears. The weave deconstructs down to just one single instrument by the four minute mark before being reconstituted with sliding blues-chords, crescendoing cymbols and chime-like two-note arpeggi. Gorgeous yet understated. The power and strength established by the seventh minute sustain themselves through toward the end of the song, the end of the album, but then quietly dissipate as if into the night mist. Really emotional! So powerful and yet not over-the-top or bombastic. Masterful. (19/20)

Again, I am not sure of the “story” Mono are trying to tell with the music on this album: end of the Japanese empire? end of Industrial society? end of human occupancy of planet Earth? Could be all or none of these. Regardless, the band has put together a collection of songs that convert power, grace, beauty, and loss with a kind of emotional impact rarely heard/felt in modern music.

90.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music and one of the finest Post Rock albums of the 21st Century. My #17 rated album for 2014.

MONO Rays of Darkness (2014)

Companion release to The Last Dawn, Rays of Darkness is really, at 35 minutes in length, almost an EP—though in 1960-70 time it qualifies as a full album. This album is by all admissions and intentions a much darker, more depressing album than its companion--and the first album in 15 years in which the band foregoes the employment of support from orchestral instruments (other than trumpet).

Line-up / Musicians:
- Takaakira Goto / guitar
- Hideki Suematsu / guitar
- Tamaki Kunishi / bass
- Yasunori Takada / drums
With:
- Jacob Valenzuela / trumpet
- Tetsu Fukagawa / vocals (3)

1. “Recoil, Ignite” (13:19) unfortunately for these ears, contains a very James Bond-like theme in the main melody of its first section (first seven minutes) which, at this pace and in this style, just doesn’t work for me--though I do like the unusual touch of gently strummed acoustic guitar chords paired with the deep rolling bass notes. Tremolo guitar and drums dominate in the fifth and sixth minutes. Around 5:25 the theme gets reconfigured a bit: enough, for the middle section to make the experience somewhat better with strummed bass chords and plodding drums beneath Goto's tremolo. At 7:35 it gets heavy, full band, full release of tension and suspense, full tsunami. The "Bond theme" returns around 8:30. The heavier, more squealing angular eleventh and twelfth minute do more to distract me with thoughts of The Beatles’ “A Day in the Life” or “She’s So Heavy” and other stuff.

     Revisitng this song a few years later I find that the "Bond theme" doesn't bother me nearly so much--it's a very beautiful melody line that the song is built over. Also, the diversity and inclusion of several "movements" makes the song so much more interesting than past A-B-A-B compositions. (26.5/30)

2. “Surrender” (7:41) suffers from identity issues—it never seems sure of who or what it is and/or where it wants to go. I love the presence of the trumpet/horns holding part of the harmonic weave, but, again, it just never seems to gel or congeal, never shifts into gear. (Maybe that is the point: dis-integration, distress and dis-function.) Disturbing and unsettling. Thanks, Jacob Valenzuela, for the first trumpet in the final two minutes—which stands sadly alone for a spell. (13/15)

3. “The Hand That Holds the Truth” (7:44) has become renowned for the presence of a vocal (Tetsu Fukagawa’s death metal growls). The YouTube video of this is quite entertaining and enlightening as to the group’s individual contributions as bassist/pianist Tamaki Kunishi-Yuasa dons an electric guitar to help produce the three-part weave that forms the second part of this three-part song (intro, weave-building, and climactic main explosion). (13/15)

4. “The Last Rays” (6:39) is an exercise in noise from distortion and atonal string plays. Again, if the theme of this album is the end of the world, then all of the compositions here make perfect sense. What surprises me is the dispassionate, detached feeling of the music—and this from a band that usually seems SO invested in the emotional impact of their songs! Maybe to them the end of the world is so matter-of-fact, such a foregone conclusion, that they have decided to present it like this as an exercise in detachment. I commend them for their efforts but have to admit that I much prefer the impassioned efforts of albums like ULVER’s Shadows of the Sun or Nikitas Kissonas’ Suiciety to represent a sad goodbye to human dominion over the planet. Interesting and powerful if downright scary. (8.75/10)

Total Time 35:00

87.50 on the Fishscales = B/four stars; a good album that is better intellectually—especially when considering the tough subject matter. 

MONO Requiem for Hell (2016)

I love Mono and what they do, but I have to say that this album is quite a disappointment after their previous three albums--which were all great.

Line-up / Musicians:
- Takaakira 'Taka' Goto / guitar
- Hideki Suematsu / guitar
- Tamaki Kunishi / bass
- Yasunori Takada / drums
With:
- Susan Voelz / violin, orchestration
- Inger Petersen Carle / violin
- Andra Kulans / violin
- Vannia Phillips / violin
- Nora Barton / cello
- Veronica Nettles / cello
- Alison Chesley / cello (2)
- Nick Broste / trombone (3)

1. "Death in Rebirth" (8:05) a typical slow building Mono song but what's up with the drummer? He seems to be way off and too militaristic. The song finally gets good at the (prolonged) crescendo and when the drums disappear. (11.25/15)

2. "Stellar" (4:58) starts off with some awesome strings and then piano to play the slow weave of arpeggi. Tuned percussion joins in in the third minute and then the staticky guitar feedback. Very nice, if simple, tune. (11.25/10)

3. "Requiem for Hell" (17:48) opens with two guitars weaving their arpeggi to perfect beauty. Things start getting a little raunchier (in a good way) with some distorted guitar tracks and bells in the third minute. When the drums join in at the five minute mark it's like someone stuck a needle into a balloon--it diminishes the beautiful effect that had been built up to this point. How could the band and producer not hear the horrible effect the drums have on this music? Luckily, there is a reprieve from the drums starting at 9:15. By 10:15 the song is starting afresh with all new arpeggi coming from the guitars. Drum play is added in the twelfth minute, but only to accent the other instruments. Then, when all hell breaks loose (no pun intended) at 12:20, the drummer is mixed farther back in the mix and his play is more in tune with the cacophony occurring all around. This is actually quite an appropriate and effective psychedelic section for the subject matter (not unlike some of the frenzy in more recent MOTORPSYCHO songs). And it plays out for the entirety of the song's final five and a half minutes! Best song on the album. (31.5/35) 

4. "Ely's Heartbeat" (8:27) one of the weakest Mono songs I've heard in a long time. The drums are so off and the instrumentalists seem to be careless. (6.5/20)

5. "The Last Scene" (6:43) a very pretty, slow and deliberate almost HAROLD BUDD/ROBIN GUTHRIE song. (8.5/10)

Total Time 46:01

80.0 on the Fishscales = four stars; B-; a good album that is worth hearing--especially if you are a Post Rock or Mono fan.

MONO Nowhere, Now Here (2019)

Japanese Post Rock veterans release their 10th album in 20 years and continue to demonstrate their willingness and drive to grow and evolve by offering major synthesized electronic sound washes as ample aqueous solutions in which to launch, buoy, and bathe the vehicles of their instrumental constructs. They have been kind of stumbling along, trying to grow and try new things in recent years but their efforts have not proven successful critically or in sales. Here, now, they have broken several old Mono patterns: with first lineup change ever with new drummer Dahm Majuri Cipolla, rampant and all-pervasive use of electronics (computer keyboards? or MIDI?) and Tamaki's debut vocal.

Line-up / Musicians:

Takaakira 'Taka' Goto - guitar

Tamaki - bass, vocal (3)

Yoda - guitar

Dahm Majuri Cipolla - drums

1. "God Bless" (1:44) "warped record" orchestral strings! It's all warped: "horns," too! Very cool! Like something from a David Sylvian record. (5/5)

2. "After You Comes the Flood" (5:36) dirty, raspy synths and guitars fade into this one for a long (0:56) introduction before the full band burst forth with a solid chord progression within which the familiar MONO tremolo guitar playing moves around. Drumming is very solid, bass is loud and super-chunky, guitars are insistent. A little lull at the end of the third minute allows for a second burst into full frontal brutality--this time with the right channel guitar going rogue and freaky. Awesome stuff! Gets the adrenaline pumping to hear the band firing on all cylinders again. A top three song for me. (9.5/10)

3. "Breathe" (5:24) slow low end synth "horn" chord washes open this one before the breathy "ANNE PIGALLE-like voice of Tamaki enters. Wow! This is different! And awesome! A MONO torch song! It's gorgeous if a little two-dimensional. (9/10)

4. "Nowhere, Now Here" (10:24) opens with gentle, background untreated guitar slow-picked arpeggi before solo electric guitar enters and, then bass and slow drums and "horn" synth chords. After a brief pregnant pause, the full band jumps in with great force and a great weave (with synth strings?) at 3:15. What ensues is beautiful, insistent, emotional, and powerful. At 5:05 the drums and bass start a constant quick-pulse just before a break in which the two guitars continue playing off of each other in their own repetitive styles. Bass and snare rolls reenter in the second half of the seventh minute and then kick drum. At 7:50 everything gets loosed but this is weak until the tremolos really speed up and the cymbal crashes get going. I don't like the drums' backing off as the guitars continue screaming. (17/20)

5. "Far and Further" (5:41) guitar arpeggi with heavy reverb is counterpointed by gently picking guitar and then by super chorused and two channeled guitar strums and thick bass notes. Nice weave that stays mellow until the three minute mark when bass drum and bowed instrument check in. At 3:40 the raunchy electric guitar tremolos show up as cymbals and orchestral sounds join. Never reaches fast speed or frenetic playing, but effectively conveys a mood. (8.75/10)

6. "Sorrow" (8:30) the two guitars, with their two styles, playing gently, each with more lush electronic effects that usual, before steady blues-rock drums join in until the two minute mark when a pulse of bass and wall of shifting orchestral strings chords joins in for fifty seconds pure beauty. Then things get quiet and more sparse again for thirty seconds before swaths of "singular" strings begin swooping in and around the music to the most gorgeous, emotional effect. At 4:45 the beat intensifies as the drums and bass begin pounding and crashing while the musical soundscape becomes awash in the thickness of a constant kind of tremolo. Beginning at the end of the eighth minute Taka's full-chord tremolos with keyboard mirror bombard and bathe us until the song's Berlin School sequenced demise in the final 30 seconds. Definitely a top three song; probably my favorite song on the album. (19/20)

7. "Parting" (4:25) piano and strings! It's so MONO but it's unlike anything they've ever done before. Could be Jesy Chiang and her CICADA band. Very pretty, very emotional. (8.75/10)

8. "Meet Us Where the Night Ends" (9:05) opens with odd sequence (arpeggio) of computer-sampled vocal loops before guitar arpeggio joins in. Very cool! At the one minute mark a second guitar enters playing some echoed and spaciously placed notes. In the third minute the second guitarist doubles his slow pace as bass and cymbals (and then full drums) and "orchestration" join in. Not very complex music but all threads are woven into a nice tapestry. Around 3:20 things break down to the original voice and guitar foundation before low-end guitar tremolo and orchestral strings' rising and falling chord progression ensues. Drums re-emerge at the five minute mark. Searing electric guitar flames in at 5:36 to add his emotional input. At 6:45 drummer signals "it's time to get real" as everybody seems to amp up their intensity (especially the drums--which erupt into full freak out mode at 7:17). Awesome! And different! (18/20)

9. "Funeral Song" (3:21) flutey church organ swirling around a cycle of a few chords before a sequence of "trumpet plus horn chords" join in. And woven together with some reverb and other effects and that's it! Awesome! (9/10)

10. "Vanishing, Vanishing Maybe" (6:14) Yoda's heavily reverbed guitar arpeggi (on the left) are soon joined by Taka's own louder sound on the right. Add Wurlitzer-like organ in the second minute. The melodies and harmonic structure here is so cool, so familiar. Drum kit enters at 2:10. Sounds like practice, nothing too challenging or groundbreaking in terms of structure until the third ROBIN GUTHRIE-like shoe-gaze guitar comes sliding in at 3:28. Now that is cool! Just a solid COCTEAU TWINS instrumental. (8.75/10)

Total Time 60:24

90.60 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music--one of the few Post Rock albums that have ever earned five stars from me, but this is a dazzling display of the core basic best that the sub-genre has to offer juxtaposed with a band's maturity plus the rewards it can reap with it's willingness to take risks and try new things. My #16 ranked album of 2019. Bravo! Taka, Tamaki and Yoda for your metamorphosis.

MONO Pilgrimage of the Soul (2021)

Expanding, growing, still willing to experiment, this is a 22-year old band that is setting the example for all other bands. Here they have nicely added/embellished their sound with orchestral instruments and arrangements.

Line-up / Musicians:
- Takaakira 'Taka' Goto / guitar
- Tamaki / bass, piano
- Yoda / guitar
- Dahm / drums
With:
- Susan Voelz / violin & orchestrator
- Andra Kulans / violin
- Vannia Phillips / violin
- Emi Tanabe / violin
- Alison Chesley / cello
- Anna Steinhoff / cello
- Nora Barton / cello
- Kelsee Vandervall / cello
- Chad McCullough / trumpet & brass co-arrangement
- Liz Deitemyer / French horn
- Matthew Davis / trombone

1. "Riptide" (5:51) powerful in the best way that MONO can be. Opens with horns in the background as delicately picked electric guitar--until 1:20 when a volume 10 tsunami of sound crashes in (scaring the bejeezus outof me everytime I hear it!) The intensity is almost militaristic--but maybe stronger--like a volcanic eruption! And just as relentless! By song's end I feel beaten to a pulp! Awesome! Could be a top three song--if only for it's long-lasting effect on my nervous system. (9/10)

2. "Imperfect Things" (6:25) delicate loop of a harp-like arpeggio opens this before being joined by slow, distinct guitar and bass notes. Such a contrast to the previous song's barrage (from which I am still reeling--my nervous system still recovering from). Second slow-picked guitar and second windy-synth loop join in during the third minute. The loops build in the fourth minute until deep bass chords and disco drum play join in. Guitars return now playing full chords where they had only submitted single notes before, but the timing/pace is the same. The drummer's snare play takes us out of Disco-realm. At the five-minute mark guitars and strings enter, taking the music in a different direction--while the rhythm section remains constant. All pressure is relieved at the six-minute mark for a finish of just the loops. Nice. (8.75/10)

3. "Heaven in a Wild Flower" (7:10) sustained organ note (dyad?) with electric piano playing slowly over the top. At 1:20 far background bowed electric guitar and second hand of electric piano and bass join in. It's slow and old feeling. At 2:28 horns join in from the distant background. At 3:03 distant background electronic percussive noises, and then, at 3:40, cellos, while full brass section moves to the fore. Full strings join in the next round as horns become a little more expanded and expressive. At 5:50 things begin to break down, leaving single cello to solo over the basic foundation of electric piano chords, samples & loops. Surprised to have such little representation of the band's electric guitar-oriented sound--and no drums! (13/15)

4. "To See a World" (4:00) two arpeggiating guitars with full strings support are joined in the second minute by cymbals, snare drum and, at 1:45, finally, by the full band--bursting forth in a full rock/Post Rock wall of sound. The stark and untreated snare drum hits feel a bit incongruous with the deluge of murky treatments given all the other instruments (except, perhaps, the bass guitar). Nice, old-fashioned, orchestra-supported Mono Post Rock. (8.5/10)

5. "Innocence" (8:10) female choir chord and percussive guitar notes open this before being joined by an overture-like quick series of band + orchestra chord progressions--a pattern that is repeated over and over until 2:30 when tremolo-electric guitar seems to be trying to take us in another direction. But, no! The pattern is too strong; the rondo of power chords sustains and maintains its dominance--until 4:26 when a single drum hit signals the unleashing of a full-on Mono barrage of sound. It's wonderful! Great chord progression under the command of these masters of contrast and melody. Then, at 6:05, things fall into spacey stillness before guitar and organ notes and reverse percussives start to creep forward and populate the cosmic field. Interesting--and unusual. (13.25/15)

6. "The Auguries" (7:30) Taking on a rather cinematic musical style, the band create a kind of James Bond-like feel--even as they take it the music into new heights at the end of the second minute. The typical Mono construct of rondo cyclical approach ensues as each band member takes turns adding to or embellishing their sound and or contribution. Yoda"s searing MY BLOODY VALENTINE-like guitar play in the fifth minute is heart-wrenching, to say the least. Super powerful--and quite haunting. A top three song for me. (13.75/15)

7. "Hold Infinity in the Palm of Your Hand" (12:21) sustained oscillating Hammond organ chords to which are added bee-like horn notes (sampled?) and then xylophone arpeggi. At 3:00 gentle guitar and bass notes are entered. These are soon joined by drums. Beautiful! A heart-wrenching melody. Tremolo guitar joins the mix at the very end of the fifth minute followed buy a ramping up of the strings in background support. Around the six-minute mark we return to the bare-bones weave of the opening section--like starting over--before drums, guitars, bass, and strings rejoin--this time with more intensity and complexity. All the while, the gorgeous base melody line is held strong. At the eight-minute mark the rock elements all intensify, taking the walls of sound up a few notches, while maintaining the core. In the second half of the tenth minute, the march-time of the drum seems to spoil a bit of the integrity of the melodic and emotional impact. To bad! This had all the makings of one of Mono's finest! Despite this little hump, the final 70 seconds of entropic cacophony is awesome. My other top three song. (22.75/25)

8. "And Eternity in an Hour" (5:51) slow, hypnotic (lullaby-like) piano arpeggi--at first by one and then by two hands--are soon joined by full spectrum of orchestral strings. Beautiful minimalist chamber music! Start to finish! Wow! Who'd have thought this possible from a heavily electrified Post Rock band? A top three song. (9.5/10)

Total Time 57:18

89.54 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and the finest Post Rock album of 2021! What a musical treat! My #13 favorite album of 2021 (#20 on the Fishscales). Highly recommended!