MYSTERY

Mystery came to my attention in 2008 when their then current singer Benoit David (not to be confused with crooner David Benoit), was tapped to join Yes, after the departure of Jon Anderson. David would remain with Yes until 2012 when voice issues caused him to bow out. He remained with Mystery as well until 2013. I began to realize, however, that Mystery was far more than that. They are one of the finest modern prog-rock bands going, IMHO.

Mystery was founded in 1986 by guitarist/multi- instrumentalist Michel St-Père, and began releasing recorded music in 1992 with their debut EP. "Redemption" is the band's 8th full length studio album, and was recorded by the current line-up of: Michel St-Père, bassist François Fournier, guitarist Sylvain Moineau, drummer Jean-Sébastien Goyette, singer Jean Pageau and keyboardist Antoine Michaud. Johnny Maz is also credited with additional keyboards. (I may feature Mystery later on Scott's Spotlight [#scottsspotlight] where I take a deep dive into an artist's history.) St-Père wrote all of the songs except 2, which will be noted below.

Without further ado, let's jump in!

Track 1 - Behind the Mirror

The album kicks off with big chords, a melody and drum fills; a grand intro, indeed. Vocals join at 42 seconds with 7-8 rhythm underneath. Harmony vocals join on the second half of the verse. At 1:19 we return to 4-4 similar to the intro for the chorus. Jean Pageau is fantastic on the vocals! Another 7-8 verse follows, then there is a nice drum fill from Goyette leading to the next chorus. A bridge in a half-time feel happens following that. A guitar solo follows using the similar feel. I am not sure if it's St-Père or Moineau playing the solo (although I suspect it's St-Père), but it is a well-crafted melodic solo. Following the solo there is a nice big full-band feature leading to the next verse. At around 5:30, there is another fine drum fill, and then another big full-band section, very melodic. Pageau returns on vocals then there are fantastic harmonies on the line "walk behind the mirror," at around 6:05 and later on "breaking down the mirror." The song closes with more big instrumentation and a drum fill before the final note. The keyboards from Michaud have a big presence throughout, even though there wasn't a solo. Fournier was solid on the bass as well. Great dramatic album opener.

Track 2- Redemption

The title track begins in a minor key, with clean electric guitar playing an arpeggio-type of pattern, followed close behind with lead vocals. Very mysterious indeed ;). We are in a meter of 3. The bass and drums play occasional accents, to bring out the dramatic feel of the song. When the rhythm section fully joins in at around the 1 minute mark, it feels more like a 6-8 meter. I love the descending bass line, doubled by guitar. The second verse begins with the rhythm section maintaining the feel. Superb harmony vocals hit at around 1:30. Power chords join the soundscape at around 1:50 for the bridge and bring the dynamic level up. By 2:24, when Pageau sings "this is my redemption," the music takes on a bit of a Beatles' "I Want You (She's So Heavy) " thing, but with a "gothic" style choir sound (possibly on the keys) joining in. This song is even more dramatic than the first one! Amazing drum fills throughout this portion of the song. Following that instrumental feature. The instrumentation eases off and Pageau returns on vocals singing "I'm lonely?" at 3:15, with the rhythm section dropping out, except to play accents. Harmony vocals on "should I be sorry," around 3:45 usher the rhythm section back in. At around 4 minutes, there are effects on the voices starting with "please forgive me?". There is an excellent build up, leading to the refrain of "this is my redemption" just before the 5 minute mark. The singing becomes call and response between the backing vocals and lead vocals here. It's really well done. The instrumentation is thick , but not so dense that it loses the definition of the individual instruments. Fantastic guitar fills on a scale-based lick at around 5:30. Following that the music bids up amazingly. , until around the 6 minute mark where everything eases back off and winds down to the ending of "so lonely?" Hauntingly beautiful track!

Track 3 - The Beauty and the Least

Drum fills kick off this mini-epic of over 9 minutes (it's the album's 3rd longest track). Then the band kicks in with a slow 4 ballad kind of feel with a melodic lead guitar line on top. The instruments quickly drop back out as the singing begins at around 20 seconds, with minimal instrumentation from an acoustic guitar and subtle bass. Just before the 1 minute mark, the melody takes an upward lift and then the rhythm section comes back in for another instrumental break with lead guitar on top and subtle backing vocals. The second verse has the rhythm section on board with some nice gentle keyboard parts. The next chorus has harmony vocals and bigger instrumentation. Another guitar solo with great atmospheric vocals behind it along with the band. At 3:30 Goyette establishes a new rhythm on the high-hat while there are clean electric guitar arpeggio lines. Fournier plays some nice bass over the top of that to add depth to the rhythm. Keyboards join next. Then lead guitar. There's a cool, simple but effective bass fill at around 4:35. There are overlapping guitar lines following next and the keys give a choral-vibe again. They fall into a repeating melodic pattern around 5:35 and the music keeps building with lots of great drum fills. The excitement continues to grow until around 6:05, when everything except for a keyboard line drops out briefly. The melodic ostinato returns following a monster drum fill a few seconds later. I wish I could hear them play live; I bet it sounds enormous! They begin to come out of this section at around 7 minutes, and ease things back down. Goyette establishes a new beat and then they begin to build up again, but then surprise, they don't! At 7:27, they stop kind of abruptly. They come back in just afterward with an entirely new feel with lead guitar on top. Pageau returns on vocals (remember him from the beginning of the song?) He hits a beautiful high note on "she smiles" at around 8:05. He hits it again, but this time with harmonies at 8:25 on the word "Tears". Lead guitar takes back over at 8:40. At the 9 minute mark it seems like it is going to let a final chord fade out, but no! There is an additional chord strummed smoothly after that to close it out. Amazing track!

Track 4 - Every Note

This one was written by Jean Pageau with his brother Marc, way back in 2005. It had been submitted sometime previously, but not selected for inclusion on an album until this one. Layered acoustic and electric guitars begin this one in a finger-style, folky manner. Pageau begins singing after about 15 seconds. Bigger sounding guitars, keyboards and bass enter at around 43 seconds. The song crescendos throughout the chorus and the drums enter for the first time, albeit only for a cymbal crash with bass-drum underneath it at 1:12. All instruments drop out briefly at just before 1:30 while the words "every note" are whispered. Following that, the rhythm gets steady with the rhythm section keeping a beat. A bluesy toned solo take plays along with that; sounds like the neck pickup of a Strat. Following the solo, Pageau sings in a lower register. Distorted electric guitar comes in, led by a fill at 2:09. The heavier guitar doubles the bass notes and the music becomes much bigger sounding on this chorus. Next, the distorted guitar bass and keyboards sustain chords while there are drum fills and a classical acoustic guitar solo. Coming out of that solo, at around 3:00, I hear what sounds like a real flute, but there is none credited on the album. If it's samples on a synth, it is very convincing. It plays along with the classical guitar, then?Bang! Big power chords hit and distorted electric guitars take over while the band accents. The sound is immense! Pageau comes back in then is joined with harmonies. By around 4 minutes things come back down and the classical guitar returns briefly, before the rock guitar comes back. Another big chorus returns. As has been the case with other albums I have reviewed in this series thus far, it is clear that every chorus is a performance unto itself. There is no cutting and pasting of previous parts here, as is the case in a large portion of modern pop music. Another, heavier, guitar solo follows the chorus, before the song begins to wind down .Fantastic, beautiful track! It was worth the 18 year wait. I have no idea what it sounded like in its original form, but the band gave it a full on Mystery-style treatment!

Track 5 - Pearls and Fire.

This one is about 20 years in the making. It was written a little at a time. St-Père had the music coming together, when a fan suggested he write a song about a French-Canadian soldier named Léo Major,,who fought in the Netherlands in World War II, thus inspiring the lyrics. It is the second-longest track on the album at just under 13 minutes. This one begins with dark sounding synth-strings and a high-hat rhythm. The vocals join at around 28 seconds. At 45 seconds the band hits big power-chords while Pageau continues singing. Then everything but a rhythmic synth drops out, before more power chords and vocals return. The music becomes more rhythmic for the next verse, until around 1:36 when he sings "remember?the ghosts of war stand behind!" with minimal synth backing. The rhythm returns after that. There is a fantastic unison run at 2:15, then everything abruptly changes! A quick shuffle beat takes over along with harmony vocals. A guitar solo starts around 2:40, followed by a brief keyboard solo just before 3:00.The rhythm changes again to a slower tempo and completely different feel at around 3:25 (it reminds me very slightly of "Little by Little" by Robert Plant in feel). Nice bass line here. By 4:15 it all changes again, as the beat accelerates and keyboards take the lead with a bit of an "Immigrant Song" (Led Zep) bass line underneath to give a galloping feel. Nice keyboard solo! Not super-flashy but fits the song nicely. At around 5:00, the final note of the keyboard solo sustains along with the underlying chords and the vocals return with an effect onboard. Nice chord changes underneath. On the second time around some strummed clean guitar chords compliment what was happening, then another layer of guitar with a rotary effect joins as well. Nice arranging! Then while the sustained chords continue, a guitar solo takes over. (I wish I knew which guitarist was playing where to give credit where it is due.) There are some nice Yngwie Malmsteen style arpeggios in this cadenza of a solo. Well done! Rhythmic synths and high-hat establish a rhythm at around 7:00, then the guitars and bass hit with a wallop at 7:15. High-drama here. It almost sounds like Pink Floyd but heavier. Goyette and Fournier lay down an almost funky groove that has my head bopping at around 8 minutes. Another synth solo, presumably by Michaud, comes in over that. Then the guitar harmonizes along with the keyboard lines. By 9 minutes they go into a more "half-time" feel with a fantastic guitar solo. The half-time feel continues as the vocals come back. Nice harmonies at 9:55. Nice key and tempo change at 10:35. They return to the previous feel following that for another chorus. But at 11:24, the beat picks back up. It changes back again at 11:45. The alternating tempos are very effective. By 12 minutes we are getting to the big finish with a melodic guitar that is then harmonized the second time around. Massive keyboards and drum fills galore underneath up until the final chord. An instant prog classic!

Track 6 - My Inspiration

This is the 4th longest track at 8:24. It begins with crystal clear acoustic guitar arpeggios with a subtle keyboard part. The vocals begin at 20 seconds. The vocal melody is very nice! The rest of the band comes in at 1:06 with a moderately slow steady rhythm. Nice transitional chords between verses. Some crunchy guitar joins at around 2:30. Synth choir sounds enter around 2:54. A bridge in a minor key begins at 3:20, with only the acoustic guitar and vocal. Clean electric and synth-strings join in as well. There is a brief interlude between rounds of the bridge,The music begins to build again at around 4:27. It gets HUGE at 4:43. A keyboard solo follows with a wonderful descending chord progression underneath in 6-8 time. Then at 5:25 the vocals return and the rhythm changes subtly. The choir sound returns by 6:00. There are a few brief seconds of Wakeman-style keyboard flourishes before the music comes back down around 6:25. Acoustic guitar, vocals & keys take over again, then bass joins. There is a drum fill then. The band kicks back in full-force and a final chorus is sung with phenomenal harmonies joining at 7:25. Keyboards solo over the closing segment, or at least I thought it would be! They tricked me again with a quick tempo and the return of Wakeman-style keyboards with 15 seconds remaining which does lead to the ending. Marvelous track!

Track 7 - Homecoming

This one was written by keyboardist Antoine Machaud. Like Pageau's song earlier, it was submitted some time before this album was recorded and finally chosen for inclusion. It is the shortest track at 5:10. It begins with some wind chimes and clean electric guitar arpeggios. Pageau's vocals are doubled an octave below when he enters. Cymbal rolls provide nice atmospherics. There are some great harmonies along the way and the first verse uses a delay effect at the end so that the phrase "good bye" echoes several times. The rhythm section kicks in for the second verse. The "good bye" trick returns for the end of this verse. As the instruments pause. Then a bass fill brings the band back for a guitar solo. Another pause follows that solo, but at 2:40 the music becomes more rhythmic and the guitar solo resumes. Vocals return with this rhythm continuing, singing in a higher register and harmonies. The "Good bye" echoes out again, but this time the beat remains steady and a keyboard solo takes over. Another round of "good bye"s mark the transition from keys to guitar again. They do it again, but this time it signals a rhythm change at 4:49 as the song comes to a close with a final, softer "good bye" that echoes out.

Track 8 - Is This How The Story Ends?

I don't know about the story, but this is how the album ends? with a 19 minute + epic, of course! Mystery carries on a frequent prog tradition with the "closing epic." It begins with accented power chords and a melodic guitar line. By 10 seconds though, they settle into a groove that reminds me a bit of the Flower Kings. A tasty guitar solo leads to a change of rhythm to a quicker feel. The guitar plays a repeating motif. A keyboard solo follows.At 1:28 however, they give us a nice proggy odd meter. (5-8 I believe). At 1:50 a variation of the earlier motif returns. The opening segment comes to a close at around 2:42 with a sustained chord. A chimey electric guitar strum takes over (possibly a 12-string) with lots of echo and almost underwater effects. Some acoustic 12-string lines play over that. Vocals join at 3:15. Excellent use of a harmony part echoing a lead vocal line happens at around 3:45. The 12-string acoustic layers nicely with the electric one before a drum fill brings the rhythm section in at 4:05. I hear a bit of Hammond-style organ in the background. The verses in this section are ending with the line "Don't think too much about it," much like Rob Thomas sings the line "or else forget about it," in Santana's "Smooth," not in vocal tone, but in the way that line stands out from the instruments. Around 5:20 a guitar solo takes over, with a slightly David Gilmour feel (that's a compliment). A chorus follows and then things change again at 6:30. A rhythmic synth line takes over, then smooth, clean, electric guitar chords are strummed over the top. At 7:04, the rhythm action kicks in with distant lead guitar lines and a spoken word part. They lock in and start rockin' at 7:30! However, an ascending chord progression follows and leads to more vocals. They get into a steady groove as this section continues. The rockin' riff is used for the turn around between verses here, cool! A new melodic variation hits at around 8:55, modulating to a higher key and the turn-around riff return in that higher key. They modulate up again at around 9:44! A solo distorted electric plays the turn around at a little after the 10 minute mark. Then the band kicks back in. They REALLY hit a hard groove here! This is cookin'! They tone the riff down slightly and Pageau sings another verse. GREAT vocals here when the riff amps up again. Another verse follows. Lovin' this! At 12:15 they go double time into 7-8; progtastic! At around 12:45 that section comes to a close and then there are sustained power chords with amazing drum fills. Goyette is a top-notch drummer! Then they hit a short accent chord and Pageau sings a capella for a line, to transition to a more easy going feel. I love the harmonies when they sing "it's just another train passing by?". Following that, they go back to the "Don't think too much about it," motif. Then there is a new part, at 14:12 where a piano and light electric guitar takes over. Pageau joins in on vocals; this part is like a piano ballad. Between verses, there is a melodic guitar part. The rhythm section enters at 16:11. Now it's a little more mid tempo rocker. It is leading up to a grand ending. A melodic guitar solo follows. Interesting chord changes to end the song. WOW! What a ride! Amazing epic!

OVERALL IMPRESSIONS:

As with when I listened to it before, I am very impressed! There is not one thing that I would change about that album. It is top-shelf modern prog from the beginning to the end! Mystery deserves much more recognition. St-Père has assembled a fine group of musicians and really delivered here. An easy 5 out of 5 Stars.

Send me to a deserted island with a modest ration of three CDs, and I'll definitely bring "Lies And Butterflies" by the Canadian prog band Mystery. The choice is obvious. This album has everything that makes my musical heart beat faster.

Jean Pagau's intense high-pitched vocals, Michel St-Père's melodic guitar work, and the often bombastic guitar chords from Sylvian Moineau constantly make me forget everything around me, just like the tingling keyboard parts of Antoine Michaud and the dynamic rhythms of François Fournier and Jean-Sébastien Goyette. The band also slows things down with perfectly timed passages of dreamy flute, sparkling piano, and clear acoustic guitar. These elements transport me out of this world time and time again and beautifully complete the picture. Moreover (and this is convenient if you're banished to a deserted island for the rest of your life), I can easily play this album for hours on end without the music ever becoming tiresome. Send me away, preferably today rather than tomorrow.

In the meantime, I'm preparing and doing my research.

The development of Mystery as a band is unstoppable. "Lies And Butterflies," their seventh studio album, is another step up the ladder from its predecessor "Delusion Rain" (2015), and that has everything to do with the carefully crafted compositions. The album shows that, despite the material being epic and complex in nature, it is filled with captivating and, above all, catchy melodies. The vocal lines, in particular, are deeply moving. They achieve this because the musical accompaniment is extraordinarily beautiful.

I can already picture myself wandering along the beach of my paradise island, listening to Looking For Something Else, the epic opener of the album. Over nearly 17 minutes, two sections (which are remarkably similar) are seamlessly blended by a riff-driven interlude. This transition is born from an incredible guitar solo by St-Père. The theme introduced in the first half appears in various gradations. Both in terms of intensity and instrumentation, everything is tastefully balanced. The sizzling repetitions give way, through the riffing interlude, to the beautiful second half of the track where Mystery sounds like a neo-prog version of Kansas, or better yet, Proto-Kaw. The song is an impressive opener, a gem with eternal value.

The band then presents five tracks ranging from just under five minutes to seven and a half. They form a sonic hike, which is then superbly concluded with the fifteen-minute Chrysalis.

Come To Me stands in stark contrast to the intense opening track, which must have been the intention. It's classic rock with a progressive twist. Not bad, but marred by a nagging undertone. The ballad How Do You Feel is something to look forward to. Somehow, I always see this song as the younger brother of The Sky Above The Rain by Marillion. Pagau sings the track with sensitivity, surrounded by various plucked and broken guitar chords. The keyboards sound orchestral, and St-Père plays relentless, full-bodied lead guitar.

Something To Believe In is the perfect track for a musical backdrop at a barbecue. The meal might be meager (three fish and a crab), but the music is grand. This quintessential Mystery track showcases all the band's signature traits, and in the following two tracks, Dare To Dream and Where Dreams Come Alive, they never falter. Where Dreams Come Alive is remarkably rhythmic, and Fournier's bass work is a treat for the ears. The closing Chrysalis is an artfully crafted fence, made of melancholic neo-prog and indestructible prog metal.

"Lies And Butterflies" is an insatiably beautiful album that, of course, sounds infinitely better in my living room through my Tannoy speakers than on any island. What a delight. Take me away, guys.

Orginally posted on www.progenrock.com

Canadian band Mystery released their eighth studio album 'Redemption' in 2023, adding up another valuable piece of music to their incredibly consistent discography. A band that is currently quite recognizable within the progressive rock community, Mystery have actually been around since the second half of the 80s, however, releasing their first studio album in 1996. For a history that has lasted for more than thirty years, naturally there have been numerous lineup changes, with guitarist and founding member Michel St-Père being the sole constant one for all these years. And in 2023, with a solid lineup that has been around for the last decade, Mystery present a fantastic follow-up to their 2018 album 'Lies and Butterflies', a record that still resonates strongly with many people who are familiar with it, which is what will probably happen with 'Redemption', too.

While their style may broadly be described as neo-prog, they do take in some influences from symphonic rock and hard rock, but the thing with Mystery is that one always knows what to expect, to a certain extent, and they have become incredibly consistent and excellent at delivering precisely this brand of very emotive and melodic neo-prog, full of cinematic guitar playing, thoughtful lyrics, and warm, lush and beautifully produced soundscapes, necessarily being able to deliver both the memorable hooks and the long, intricate epic pieces, always bringing in some great vocalists, including Jean Pageau, the one singing on 'Redemption'. As for the songs and the album, this record has been recorded over the course of five years, carefully crafted by honing some old recordings of songs left unfinished, or by introducing entirely new material of gorgeous and intelligent modern prog rock - all of the band's qualities are gorgeously displayed on songs like track one, 'Behind the Mirror', which is a melodramatic and dynamic piece, with smart bass playing and lovely sweeping guitars. The shadowy undertones added by the keyboards surely enhance the atmosphere not only on this song, but on the entire album all throughout.

Then comes the emotive splendor of the title track, a more haunting piece featuring a great vocal performance by Pageau. 'The Beauty and the Least' is a mini-epic clocking in at around nine minutes, with Mystery slowly building up a tense fabric of soundscapes, climaxing in a dramatic instrumental section unfolding in the second half of the song. 'Every Note' is a lovely ballad-type entry from Mystery, something familiar for them, as they manage to write memorable shorter pieces, in which they never compromise the usual richness of the music that is associated with them. 'Pearls and Fire' is a 12-minute composition going through multiple movements, simply a neo-prog delicatessen. 'My inspiration' is a hopeful and more playful piece that occasionally could remind someone of IQ, or another great band from the higher ranks of neo-prog. 'Homecoming' displays a welcoming, warm playing, topped by the excellent vocals and the great hooks. The 20-minute-long closing piece 'Is This How the Story Ends?' is a stylish outro for a fabulous album in which a very experienced band decidedly displays their craft of composing textured and memorable progressive rock defined by strong melodies and playful sonic intricacy.

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.)

- 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 QUEENSR?CHE 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.

B-/3.5 stars; a nice addition of JOURNEY-like music that a lot of prog lover's will no doubt find attractive.

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.

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

B+/4.5 stars; a near-masterpiece of classic rock-influenced heavy NeoProg.

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 (on three songs only).

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

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.

I think in terms of the evolution of progressive rock, neo-prog has had quite the interesting development, beginning in the 80s as a synth based cross between the sounds of new wave with symphonic prog of the 70s, into very stylized collage of symphonic proginess, doses of metal, and focuses on electronics. I do admit the genre is still a bit underdeveloped on my listening part. I have listened to the big dogs like Marillion, IQ, Arena, plus some other groups like Galahad, RPWL, and of course Mystery, but I wouldn't consider myself an expert on the genre unlike prog metal or retro prog. I have been slowly but surely getting accustomed to the genre, and during the late portions of this year I thought to give some groups a bit of a looksee to engross myself in their styles. One such band is the Canadian based Mystery!

This year they released their 8th studio effort, that being Redemption, which has come about five years since their quite popular Lies And Butterflies. Earlier this year I had already heard a Mystery album, The World Is A Game, which I didn't quite care much of to look more into the band. However I did get interested in Redemption after hearing how good it was supposedly, so I decided to check it out (a little late to the party though) and it certainly turned me around to really enjoying this group.

The sound of Mystery is quite unique for neo-prog, utilizing the sounds of Rush and Styx as a basis, rather than the more common UK-based prog of the 70s. This mostly goes for Jean Pageau's vocals I think, as he does have a similar sounding singing voice to that of Geddy Lee, though definitely a lot less high pitched. I know not many like these types of vocals, but I personally dig them as they quite fit in this more hard rocking approach to progressive rock.

I will also say the instrumentation here is very solid. While they certainly do not reach the same highs as say IQ or Galahad, they do have their own flavors they are working with, creating a great, jammy sound in their own little styles that work really well in their favors. I personally love the guitars of Sylvain Moineau and Michel St-Pere. They have a lot of personality in their playing, definitely shown on tracks like The Beauty And The Least, Behind The Mirror, and Homecoming, having this nice, sharp, but somehow also kind of mellow tone in their playing. Their solos are also quite great, really dig the one on Every Note in particular. Really tasty stuff I think.

Though, I am gonna be honest the two longer tracks are kind of unnecessary I think. They're not bad or anything, it is just they feel more obligatory. Pearls And Fire is certainly the more enjoyable out of the two I think, being a lot like a track from an Asia album almost, having this nice synthy hard rock sound that drives the piece forward. However, I just think it could be trimmed a bit, with the middle section feeling like it goes on a bit too long, with the guitar solo also feeling dragged out a bit. Certainly not a bad track but one I won't listen to very often. Also, the epic here, Is This How The Story Ends?, just kinda feels like it is just there for no real reason? If that makes sense? Do not get me wrong, this is a really nice prog epic, and certainly does have moments in it that I really appreciate, but at the same time it feels like since One Among The Living the band has been pumping out epics after epics, and they have started to feel more de rigeur with each listen, even more than The Flower Kings and their long tracks. These tracks do not dampen the experience too much for me to think any less of the album, but I feel like having one album without a 15+ track might be needed soon.

Song wise, my favorite track here is absolutely Redemption. It has this wonderful energy that kinda contrasts with most of the album. It feels like a Galahad track almost, but with a more introspective outlook. This is where I think the guitars really shine, creating these moody, heavy scores that reach very stylish peaks. Also Jean's vocals here are immaculate, having this almost arena rock energy that works really well. I think Redemption really captures the beauty progressive rock can hold, being both vibrant and brimming with energy, but also spooky and very thoughtful. Amazing stuff.

Redemption is a bright look at what Mystery can really sell in terms of their music, and the album that led me to being a fan of their work. Check this one out if you particularly like harder neo prog like Arena or Galahad. I assure you it will be worth your time.

Long time reader of this forum as I have always enjoyed researching and viewing others opinions on my eclectic heroes. However THIS release has such a hold on me that I decided to finally register and offer my views rather than just take! My first Mystery tune that grabbed my attention was Beauty and the Least which intrigued me enough to dive deeper and discover the mother lode. And what an offering. Jean Pageaus vox is the honey that initially drew me in, and the band together has a sense of melody and harmony which brings an instant connection for the listener. But then with each listen, further layers are peeled. The symphonic keys, the flute, the guitar breaks, the off kilter rhythm section which has a life of its own. Each track has its own sound. Nothing seems repetitive. Even the two ballads, which could have loaded up on saccharine, have enough punch and musicianship to make them growers. Behind The Mirror is a great intro and would be worth seeing live. Redemption is an emotive tour de force (and the earworm of the album) and Homecoming is a different style again which I love more with each listen. Pearls and Fire is compelling; this could have been how Styx would have sounded if they followed their prog rather than their pop. Pageau definitely getting his De Young sound, but without the bombast. Is This How The Story Ends? OMG. How to finish off an album leaving us wanting more. 4/5 songs rolled into one, atmospheric keys, some stellar guitar breaks, one in particular with a jazz/blues feel played over a gorgeous bass beat. And 5 mins from the end a haunting stark vocal before the run home. I kept trying to liken my new found heroes to some of my long termers: Dream Theatre, Marillion, Rush with a singer who shows shades of Geddy, DeYoung and occasionally early Plant but I realise none is totally true. This sound is of itself. And in that regard, my favourite release of 2023; the greatest Mystery is how I never knew of this band before now. Thank God For Algorithms...

I have been reviewing guitarist Michel St-Père's band for quarter of a century now, and there is no doubt in my mind that the third iteration of the band is the finest yet. Singer Jean Pageau sounds like he has been there forever, having long moved past the efforts of those who wanted to compare him with previous incumbent Benoît David (of Yes fame), while Sylvain Moineau (guitar), François Fournier (bass, keyboards) and Jean-Sébastien Goyette (drums) are all here for their third album and Antoine Michaud (keyboards) has returned for his second so there is now strong continuity. Here is a band who are confidence in what they are doing, clear in their direction and with the ability and strengths which enable them to continually deliver.

This is soaring progressive rock, symphonic with swathes of keyboards, yet with a twin guitar attack which enables them to provide bite and power. Then at the front they have one of the finest singers around in Pageau, who can soar on high notes or be quiet and gentle as the mood dictates. It may have been five years since the last studio release, but there have been some live recordings to keep the fans going, and they have spent their time well in honing yet another masterpiece. There is a wonderful use of dynamics throughout, mixing the use of electric and acoustic guitars, changing the pace, all of which enables the listener to feel they are being taken on a journey of discovery, never knowing quite where they will be taken in the next few bars. It is a very album to listen to and enjoy the first time of playing with the hidden depths only really becoming clear when it has been listened to multiple times. It is soothing, packed full of harmonies, and there are times when the sweetness becomes almost too much but then a guitar breaks through with a real edge which transforms what is being played.

It is the contrasts which keep the listener coming back for more, and the nuances here and there which are a delight. Jean-Sébastien can be rolling around the kit or spend an inordinate amount of time on a hi hat, while François could spend most of his time in the background, or provide some dynamic leads, Sylvain and Michel may be both gently picking or the chords can be sharp and the solos taking us in new directions, Antoine holding it all together and then at the front is Jean who is always in total control. The music moves in waves, bringing in drama or levity, and one is helpless apart from keeping the headphones on and falling into the wonderful world of Mystery. This is yet another wonderful album from the Canadians which is absolutely indispensable to anyone who enjoys this style of progressive rock.

When compared with the three peak Benoit David era albums, which I find to be very exciting pieces or music, there's something uncreative about this one. I'm going to pretend this is a blip in the series, and there are better things to come.

Don't get me wrong, the new vocalist Pageau is ninety percent as good as his predecessor, and there are some great and lengthy guitar solos, especially if you're focused on the type of thing (maybe, I'll have to listen more), but I do not think it is up to the same level as One Among the Living or The World is a Game, which, for example, have long persistent stretches of unique and uplifting music.

I guess I'm reluctant to review something unless I really like it, just to say "hey this isn't as good as its predecessors", so I'm rating it a "3" because that's about as low as I'm willing to go with these things, generally unwilling to JUST throw shade.