(Translated from my original Italian text by ChatGPT and Piero Scaruffi)

Behind the moniker Mythos were Canadians Bob D'Eith (keyboards) and Paul Schmidt (guitar). They both live in Vancouver and have glorious careers behind them, particularly in the field of soundtracks. D'Eith, with a jazz and classical background, has won prestigious awards as a keyboardist and was a member of the rock band Rhymes With Orange, which had at least two hits, Toy Train (1995) and I Believe (1995), and recorded two albums, Introspection (Spark, 1996 - X.25, 1997) and Iridescence (Spark, 1997). Schmidt, eight years younger, studied classical guitar at the Conservatory. The first names that come to mind are Enigma, Delirium, and Deep Forest.

Mythos (Higher Octave, 1998) is a kaleidoscopic collection that challenges genres and cliches by juxtaposing conflicting ideas and sounds. The hypnotic exotic electronic shuffle of Brazil sets the pace and the technique, by fusing forceful drumming, ethereal vocals, lush electronics, Spanish guitar in an organic whole. The epic/nostalgic melodies of June as well as the sweet lament of Angels Weep (perhaps the melodic zenith) and the neoclassical piano sonata of Introspection state the depth of emotion. Sometimes (Sunless Sea, Paradox) all of this simply coins an emphatic form of soft melodic music. But elsewhere the game gets trickier: Planinata couples Enigma's existential angst and an uplifting flamenco-like rhythm; and The Odyssey plays sinister monk-like chants against a romantic guitar.

Reality of a Dreamer (2000)

Eternity (Higher Octave, 2002) applied the same technique to dance music: Ascent is the same kind of exotic electronic music, even enhanced with vocals and a string quartet, but propelled by a loud disco beat. Mythos is only occasionally successful in this new format (Turn To Grey), and variants for the jazzy lounge (Alpha) are not particularly exciting.

Later releases include: Purity (2006), Journey (2013), Eros (2018).