Mythos Song

[Marine Farinha]

Beyond the adjustments made to account for the magical beings, the setting takes place in an otherwise realistic present-day USA. The main characters go to school, participate in Ren faires, and confront racism on both a micro and macro scale.

When it comes to lore and presence on the page, sirens and elokos are the most prevalent. However, the book also features troublesome sprites, a gargoyle, the concept of oracles (though they no longer exist), and gorgons.

Presumably, elokos are also passed down generationally, though if there are any restrictions to it, it is unstated. They carry with them a charm that can play their own personal tune, though it is considered somewhat intimate for an eloko to share their charm with another. Beyond that, the only information shared about them is that there is an in-world myth that elokos bite people, that it is in some way connected to cannibalism, though most people are aware that it is a false myth.

Little is shared about sprites. They are troublesome entities that seem only to bother children. They cause all sorts of mischief, misplacing items, generally only causing minor stirs while being something of a pest. However, it is believed for most of the book that the sprites were capable of turning children to stone.

For the siren population to live out their lives and minimize risk of exposure, they have established a small, country-wide network of people who are sworn to keep their secrets and help them in any way they can. Due to the nature of eloko magic, elokos are often part of the network, though non-magical people are willing to help as well.

It was a passing mention in the story, but there is a traditional form of burial for sirens. Not all sirens are willing to do it, as it is specific to their culture and mythos and as a result outs their identity. However, unsurprisingly, it has to do with the water. The funerals are generally unattended, as it could also out any potential sirens that arrive.

The sailors of Arkham use to tell tales of mermaids and sirens, as time went on, those songs faded into legend and myth. While no one living fears the stories, they endured across the passage of time. Now, something stirs the seas near the township once again, and it all started when an odd obelisk arrived at the Arkham Museum.

Vattnet Viskar's self-titled 2012 EP blazed through atmospheric, doom-ridden black metal with authority; it had promise for a style that's been mined endlessly in recent years. But after a decade of lesser disciples of the Neurosis and Isis clans applying melodically driven bass lines and sudden crescendos to whatever heaviness befit them, it was fair to feel a touch of trepidation going into Sky Swallower, the debut album from the New Hampshire band. But a track like "Mythos" demonstrates that there's nuance at play here, even as the world falls around it.

"Mythos" blast beats its way into oblivion in no time, but take note of the tremolo-picked melody buried in the background. It never goes away, but at two minutes in, you'll realize it's been there all along. There's a masterful transition here, as if someone snapped and suddenly Peter Murphy took up a bearish growl to front a metallic Bauhaus (as if Bauhaus could be any darker, but that's besides the point). Even when "Mythos" ends with a hypnotic, thudding jam that nods to NeurIsis, there's tribute, but the original melody remains, tying together a song that's both powerful and structurally unpredictable.

The song starts with this loud, vibrant trumpet melody that prevails throughout the song, tying each piece together. This signature song is actually a Simon & Garfunkel sample, written by the aforementioned Simon himself.

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Mythos is a Canadian new age musical project started by Bob D'Eith and Paul Schmidt in 1996. Bob (piano) and Paul (guitar) collectively wrote, produced, and performed on the albums with the help of various session performers. The centerpiece of the Mythos sound rests on the acoustic guitar and piano, which are accented by guest vocalists. Synthesizers and performances in various other musical styles are regularly incorporated into the music.

Robert (Bob) D'Eith attended the University of Victoria in the 1980s, receiving both a Bachelor of Arts (BA) and a Bachelor of Law (LLB) from this institution. Before creating Mythos, he played keyboards in Rock band Rymes with Orange, and contributed to the scores of a number of film and television productions. Throughout his musical career, he also maintained a private legal practice in Entertainment Law, and currently holds the titles of President for Adagio Music (Mythos' label, formerly "Spark"), and Executive Director of Music BC.[1]

D'Eith and Schmidt formed Mythos in 1995. Mythos' initial releases, Introspection and Iridescence, were on D'Eith's Spark Records and were confined to the Canadian market. The success of these albums led to Mythos' distribution by the Higher Octave label, who first released an eponymous album containing mostly songs from prior releases. This release was commercially successful, peaking at 18 on the Billboard Top New Age Albums chart. Higher Octave went on to release two more studio albums by the group, both of which placed on the Billboard chart. Higher Octave has been restructured multiple times in the past few years by its parent labels, Narada and EMI. The most recent Mythos album, Purity, is being distributed by Pacific Music and Alula Records. In 2010, Mythos released Rain, a remixed version of Wind (from Introspection), in celebration of the group's 15 year anniversary.

In 2013, Mythos released "Journey" on Adagio Music/The Orchard, followed in 2015 with a special 20th Anniversary Vinyl Best of Mythos collection. August 3, 2018 Mythos released the EP "Eros" on Adagio Music/The Orchard. In 2021, Mythos released a 25th Anniversary Album "XXV" featuring 5 new tracks and 9 fully remastered classics.

Critics have described Mythos as New Age, Ambient, Ethereal, and Film-Oriented, with influences from Jazz, Classical, Gospel-Soul, and various World styles. Many of their songs include vocalize performances, but few have lyrics. The music is multi-layered, incorporating synthesizers and a numerous acoustic instruments. Multiple guest artists and/or session musicians have contributed to each of Mythos' studio releases, most prominently husband and wife pair Rene Worst (bass) and Jennifer Scott (vocals).

Mythos was nominated for Juno Instrumental Artist of the Year award in 1998.Bob D'Eith was nominated for the Canadian Music Awards' Best Keyboardist of the Year in 1995.Individual albums have won and been nominated for various awards, as described in the Discography.

This is Mythos' debut on the Higher Octave label, consisting mostly of previously released material. The liner notes claim this release includes "the best of the previously released album Introspection plus seven new tracks," but a number of the remaining songs were included on Iridescence. The track name "The Odyssey" does not seem to appear prior to this eponymous album, but it actually is the track "Catheral" on Introspection.

In November of 2020, Another Eden Global began serialization of the Mythos "Song of Sword and Wings of Lost Paradise", and now it's finally coming to a conclusion! To commemorate, we conducted an interview with the writer and director, Takeru Sakurada. Whether you're playing the Mythos or not, please take a look. (Don't worry, there are no spoilers.)

I don't know if I should call it a difficulty, but I was troubled by the fact that the volume of each chapter varied, because it was necessary to divide the story in a way that the reader would always be curious about the next chapter. There was a high risk that the chapters would feel too short during the series but too long once it was over, so it was really difficult finding the right balance.

Also, since I was dealing with the subject of "the West," it was inevitable that it would be compared to "the East," and I continued to update the subject with a sense of trepidation during the series. Since it was a Mythos, the available manpower for it cannot be the same as for the main story (It depends on the team, but the western part is made up of 1/3 the resources as the eastern part), and I regret that I had to reduce the size of the scenario to maintain a minimal sense of volume.

One thing that made the Mythos easier was that I could get feedback from each chapter, so I could reflect on them to some extent going into the next chapter (Of course, the development of chapter X+1 was well underway by the time chapter X was released, so it was really just "to some extent").

Therefore, I started writing the story with most of the parts in a tentative state, excluding the climax of the story and the settings necessary for ordering. For example, the character "Seze" was created from a rejected drawing by the art team, and I improvised an episode that had no shape or form in the plotting stage.

Of course, there are many, but if I were to mention them, I might bias others' opinions, so I'd like to hold back and leave it to your imagination. If there is one thing I can say, it is that the scenes that I was able to write to my satisfaction, the scenes that I was unable to rework due to time constraints, and other tasks all left an equal impression on me.

I came up with the theme of "Another Another Eden" when I decided on the core idea of "Mythos" as the main source. My understanding is that Another Eden (in terms of story) was a title written by Mr. Kato. If what Mr. Kato wrote is the "main canon" version, what I thought should be presented to the world could be the "mythic" version.

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