REDEMPTION

MYSTERY created in 1986 by Michel St-Père, a new impetus in 2000 with the arrival of Jean Pageau replacing Gary Savoie. From an AOR style to STYX, KANSAS evolving towards art-rock on RUSH and SAGA, focusing on solos and acoustic atmospheres, breaks and catchy melodies for a progressive rock formation respected for its sophisticated symphony. In short, a conglomerate to do good, see very good. Let's see what this 8th installment has in store.

'Behind the Mirror' opens imposing, dynamic and engaging; reference to RUSH with Jean's bass and high voice; title that hammers your ears with a modern sound, light vocal break followed by a divine solo, yes Michel transcends the sound of the group by its natural class. 'Redemption' eponymous title majestic and solemn, with a rhythm guitar and Jean at the bow, melodic; consensus piece that rocks you; a solo, a dreamlike, efficient rise; beautiful right down to the barrels of Jean-Sébastien, there is emotion. 'The Beauty and the Least' melody seeming soporific, padded, Michel puts on a layer quickly to warn; the declination is... progressive, beautiful work by François on bass, art; a secondary rhythm follows, packed with emotion; the synths add it pouring on an intense, bluffing musical fresco; a bit of 'Duke' from GENESIS and the warm finale. 'Every Note' acoustic ballad, with piano and bucolic flute, the title all in marshmallow, which puts Jean forward with his characteristic voice; a title where the solo further enhances the emotion; it's simple a priori because it flows by itself for the moment.

'Pearls and Fire' beware everything is going to be played out here, longer title just watered down or with worked prog atmospheres: 3 minutes and I feel the floydian scents of 'Animals', then RUSH; the fat synth, haunting prog metal; halfway through the fatal blow with a divine semi-electric-symphonic break, overboosted PINK FLOYD; cover of the air and solo of Michel for a vibration in the firmament. 'My Inspiration' guitar arpeggio, country ballad in the spirit of South American country rock; Genesis synth on 'Burning Rope' with Antoine's touch. 'Homecoming' shorter tune; soft melody with Michel and Jean who melt into the air like another instrument, Antoine on the line of MARILLION. 'Is this How the Story Ends?' with this keyboard reminding me of the bright, fresh, shimmering 80s Genesis intros and melodic CAMEL ones; innovative, rhythmic, modern 6-minute break, I no longer recognize MYSTERY but it's them. The second third on an incomprehensible musical crucible, to be listened to with an air from the famous 'Métal Hurlant'; the 4th time to land and final at the DREAM THEATER, grandiose.

MYSTERY hit hard wanting to take redemption from his musical turn? An album that has gained in sensitivity, in progression, in emotion. Nothing to throw away, excellent. A long album in which you should not hesitate to immerse yourself again and again (4.5).