Mythos -

Mythos was a German space-rock band that made a 1972 self-titled album on Ohr. Between 1975 and 1981, they made five further albums on Kosmische Musik, Venus, and Sky Records.

Members: Stephan Kaske (flute, guitar), Thomas Hildebrand (drums, percussion, 1972-77), Harald Weiße (bass, acoustic guitar, 1972-77), Robby Luizaga (bass, acoustic guitar, Mellotron, 1975), Hans-Jürgen Pütz (drums, Moog, vibraphone, percussion, 1975), Starmaiden (backing vocals, 1975), Sven Dohrow (guitar, Mellotron, 1979), Ronny Schreinzer (drums, 1979), Eberhard P. Seidler (bass, 1979), Leonore Morvaya (vocals, 1979), Markus Worbs (drums, 1980)

Background

Mythos formed in 1969 in West Berlin when guitarist–flutist Stephan Kaske joined forces with bassist Harald Weiße and drummer Thomas Hildebrand. The trio evolved from their earlier school band The Lovely People, building a setlist of Pink Floyd, Jethro Tull, Iron Butterfly, The Doors, and Spooky Tooth covers while developing their own sound amid the cultural upheavals of late-’60s Berlin.

Between 1969 and 1971, they played over 100 shows annually across West Berlin and soon began touring throughout West Germany. Their high-profile appearance at the 1971 Langelsheim Festival—where they opened both nights ahead of Family and Colosseum—caught the attention of Ohr Records, who signed the band on the spot.

Mythos

Mythos released their self-titled debut album in early 1972 on Ohr.

The album balances open-ended improvisation with structured passages, shaped by the instrumental interplay of guitarist–flutist–synthesist Stephan Kaske and bassist Harald Weiße, who also overlays acoustic runs and electronic treatments. Thomas Hildebrand underpins the shifting textures with a fluid backbeat that anchors the album’s longer explorations.

Mythos moves in long-form arcs that treat texture and pacing as the main drivers, shifting from pastoral openings into heavier, more volatile blocks of sound. “Mythoett” opens with flute carrying the melodic line over light bass-and-drum support, accelerating early, dropping into a calmer midsection, then returning to a quicker pulse. “Oriental Journey” sets up an Eastern-leaning ensemble—percussion up front, guitar entering quickly, distant vocal lines, and sitar color—before loosening into a spaced-out middle with flute and bass foregrounded, then circling back to vocals and sitar later in the piece.

“Hero’s Death” starts with building electronic haze, then locks into a darker, heavier run led by guitar and bass with drums in tow; processed vocals appear as the intensity thickens, and the arrangement threads psychedelic guitar passages with Mellotron swells and later tempo lifts. Across “Encyclopedia Terra,” the band opens with birds and atmospheric ambience, builds into increasingly intense trio interplay with guitar entering early, then fractures into experimental sound layers; the first section culminates in extended battle-like effects (sirens, aircraft, explosions) under violent drumming, while Part 2 returns with birds and repeating bell tones, solemn organ, and a slower, weightier pulse before shifting into spoken narration that closes the album over sparse, ethereal electronics.

A1. “Mythoett” (3:00) – Händel, arr. Kaske
A2. “Oriental Journey / Hero’s Death” (17:42) – Weiße, Kaske, Hildebrand
B. “Encyclopedia Terrae” (17:31) – Weiße, Kaske, Hildebrand

Kaske, Weiße, and Hildebrand recorded the album at Dierks Studio in Stommeln during October and November 1971 under the production of Dieter Dierks. It appeared in a gatefold sleeve with cover art by Gil Funccius and marks the twenty-second release on the Ohr label.

Stephan Kaske – guitar, 12 string guitar, sitar, flute, synthesizer, vocals
Harald Weiße – bass, acoustic guitar, electronic effects
Thomas Hildebrand – drums, percussion

Mythos features a vibrant, surreal gatefold illustration by Gil Funccius that blends cartoon absurdity with psychedelic fantasy. The outer back cover shows three anthropomorphic eyeballs—each outfitted with Viking helmets, golden wings, and horned armor—standing against a cosmic backdrop of stars, purple mountains, and planetary rings. They hold smoking torches and spears, one dragging a fallen yellow orb across a striped floor, while comic-style speech bubbles deliver album credits in German.

Inside the gatefold, a spectral white figure unfurls a scroll listing track titles and credits, flanked by winged eyeballs mid-flight—one armed with a golden sword, the other with a curved blade—set against a rainbow path that leads from a void into radiant clouds. The eyeball motif and candy-colored palette—rendered in thick-lined comic art—lend the package a tongue-in-cheek mysticism that aligns with the album’s cosmic themes.

Dreamlab

Mythos released their second album, Dreamlab, in late 1975 on Kosmische Musik.

The album draws its dynamic momentum from the instrumental dialogues between flutist–guitarist Stephan Kaske and keyboardist–bassist Robby Luizaga, who alternate lead roles across layered synthesizer, acoustic, and Mellotron textures. Drummer Hans-Jürgen Pütz underpins their interplay with an elastic backbeat that folds vibraphone accents and moog bursts into the rhythmic frame.

Dreamlab opens with “Dedicated to Wernher von Braun,” a short instrumental framed by layered delay guitar that builds from spaced textures into a steady pulse led by echoed lead phrases. “Message” alternates between drifting flute sections and more urgent transitions with clipped vocals, phased rhythm guitar, and short bursts of wah-wah lead; tempo shifts mark each section, with brief returns to vocal refrains before the track fades. “Expeditions” moves through acoustic guitar passages, slow flute overlays, and a smoother tempo that carries spoken verses and processed guitar lines; vocals here draw mixed responses but fade by mid-track, leaving the instrumentation to close.

“Mythalgia” centers on flute and Mellotron layers and leads directly into the title suite, where hand percussion and distant drums form a hazy low-end foundation for rhythm guitar, drifting synths, and eventual breaks into spaced-out interludes and acoustic lines. “Eternity” opens with drums and flute, then moves through a mid-tempo vamp that brings back vocals, steady bass, and brief electric guitar turns before a final drop into quiet Mellotron textures. Most tracks alternate between phased electronics and flute-forward passages, with instrumentation layered in pulses and cadences that build slowly then evaporate.

A1. “Dedicated to Wernher von Braun” (5:53) – Kaske, Luizaga
A2. “Message” (8:13) – Kaske, Luizaga
— a. Part I (2:49) – Kaske, Luizaga
— b. Part II (5:24) – Kaske
A3. “Expeditions” (6:03) – Kaske

B1. “Mythalgia” (2:12) – Kaske, Luizaga
B2. “Dreamlab” (11:17)
— a. “Echophase” (3:03) – Kaske
— b. “Quite Amazed” (3:10) – Luizaga
— c. “Going to Meet My Lady” (5:04) – Kaske
B3. “Eternity” (7:07) – Kaske

Kaske, Luizaga, and Pütz recorded and mixed the album at Dierks Studios under the production guidance of Starmaiden, who also contributes backing vocals. Toby “Mad Twiddler” Robinson handled quadraphonic recording and mixing. Peter Geitner designed the gatefold sleeve and painted the uncredited cover image, titled The Lovers.

Stephan Kaske – flute, lead guitar, 12 string acoustic guitar, synthesizer, vocals
Robby Luizaga – bass, acoustic guitar, Mellotron
Hans-Jürgen Pütz – drums, percussion, vibraphone, moog synthesizer

Strange Guys

Mythos released their third album, Strange Guys, in April 1978 on Venus.

The material centers on instrumental exchanges between guitarist Stephan Kaske and fellow soloist Sven Dohrow, who contrasts lead guitar phrasing with string-textured Mellotron overlays. Eberhard P. Seidler anchors the arrangements with flexible bass figures and layered vocal parts, while Ronny Schreinzer provides a steady rhythmic fulcrum on drums and percussion.

Aeronaut opens Strange Guys with a tense rhythmic drive, built on phased synth swells and guitar bursts that rise and drop against a tightly sequenced backdrop. The title track shifts focus to a calmer exchange between flute and acoustic 12-string, with soft percussive accents framing the midsection before heavier elements return. “Mysterious Scene” moves between tempo changes with layered leads and open intervals that stretch the pacing, while “Powerslide” presses forward with saturated riffing over propulsive drums and spaced-out keyboard layers. “Backstage Fumble” cycles through electric jam sections, brief flute breaks, and an unexpected choral interlude that contrasts its heavier edge.

A1. “Aeronaut” (5:08) – Kaske
A2. “Strange Guys” (6:17) – Kaske
A3. “Mysterious Scene” (8:25) – Kaske

B1. “Powerslide” (8:28) – Kaske
B2. “Terra Incognita” (4:33) – Kaske
B3. “Backstage Fumble” (9:08) – Kaske

Kaske and his expanded lineup recorded the album at Dierks Studios between November 7 and 28, 1977 with engineer Gerd Rautenbach. Dieter Dierks produced the sessions for Breeze Music, which also published the material. SST Brüggemann handled lacquer cutting. Equipment was supplied by Music-Shop and Musik-Center in Berlin. Detlef Gießner shot the cover photos, and Fessel’s Studio in Hamburg designed the sleeve.

Stephan Kaske – lead vocals, flute, synthesizer, acoustic guitar, lyrics, music, writer, lead guitar, talk box
Sven Dohrow – lead guitar, Mellotron
Eberhard P. Seidler – bass, backing vocals, chorus
Ronny Schreinzer – drums, percussion

Concrete City

Mythos released their fourth album, Concrete City, in 1979 on Venus.

The album emphasizes interwoven parts between guitarist Sven Dohrow and synthesist–flutist Stephan Kaske, who thread alternating motifs across tightly framed sections. Eberhard P. Seidler underpins the arrangements with an anchored bass presence, while Ronny Schreinzer drives the set with a centered drum backbeat.

Concrete City pivots on saturated guitar figures and rhythm-section insistence, with brief synth overlays and flute leads breaking through the heavier framework. “Harry Chanceless” opens with sharp, riff-led pacing and flute counterlines that briefly soften the edges before a fade. The title track layers phased textures over a chugging rhythm and opens into short instrumental breaks with spaced keyboard pulses. “Flamenco Bay” drops the intensity for a slower atmospheric stretch built on clean-tone guitar and vintage keyboard shading, then returns to thicker layering in the final passages. “Neutron Bomb” fluctuates between stilted hard rock rhythms and brighter instrumental shifts that fade too quickly to develop fully.

A1. “Harry Chanceless” (5:06)
A2. “Concrete City” (5:25)
A3. “Flamenco Bay” (5:36)

B1. “Neutron Bomb” (7:02)
B2. “Ulysses B. Smart” (6:02)
B3. “Yukon” (5:29)

Kaske, Dohrow, Seidler, and Schreinzer recorded the album at Dierks Studios with engineering handled by Guy Bidmead and Felix Bayer. Mythos produced the album independently, with final mixes automated by Jürgen Krämer. Breeze Music handled publishing and Music Distributor GmbH oversaw distribution. Leonore Morvaya contributed uncredited guest vocals on “Ulysses B. Smart,” announced by Bidmead. Fessel & Hoffmann designed the cover.

Stephan Kaske – lyrics, music, vocals, flute, synthesizer
Sven Dohrow – guitar, Mellotron
Ronny Schreinzer – drums
Eberhard P. Seidler – bass

Quasar

Mythos released their fifth album, Quasar, in September 1980 on Sky.

The album centers on multi-layered textures generated by synthesist–flutist Stephan Kaske, who blends sequenced motifs with flute passages, vocoder phrasing, and interjected guitar figures. Drummer Markus Worbs supports selected tracks with a steady acoustic backbeat, while Kaske sequences and programs the remaining rhythmic structures.

Quasar pivots on layered sequencer lines, clipped vocoder phrases, and sharp electronic textures that shift between densely stacked rhythms and thinner melodic outlines. “Flut-e-quenzer: The Knight” cycles through structured movements, blending phased synth pulses, filtered vocals, and occasional guitar bursts over programmed drum patterns. “Quasar” opens with rising synth lines that ripple across a rigid pulse before dropping into a mid-tempo vamp with occasional flute shading. Tracks like “Flut-E-Sizer” lean on tight sequenced pacing and brief melodic interjections, with each section built around synthetic layering and controlled bursts of dynamic intensity.

A1. “Quasar” (4:25)
A2. “Nurse Robot” (3:23)
A3. “Flut-E-Quenzer: The Knight” (9:33)
— a. “Duel” (2:22)
— b. “Lamentation” (4:06)
— c. “Conjuration” (1:26)
— d. “Rebirth” (1:39)

B1. “Flut-E-Sizer” (3:29)
B2. “Didn’t Notice, Didn’t Mind” (3:24)
B3. “Nothing But Your Dream” (3:18)
B4. “Just a Part” (3:32)
B5. “When the Show’s Just Begun” (3:21)

Kaske produced Quasar during May and June 1980 at Musiclab Studios in Berlin using Moog, ARP, Roland, Korg, and MFB synthesizers supplied by Music Shop/Peter Jahnel. Frank Osterland and Harris Johns engineered and mixed the album. German News Musikverlag handled publishing. Walther Erwes designed the cover, and Michael Weisser supplied the back cover photography. Lacquer cutting took place at Tonstudio Pfanz, with pressing done by Pallas GmbH.

Stephan Kaske – vocals, flute, synthesizer, sequencer, vocoder, Mellotron, drum programmer, guitar, producer
Markus Worbs – drums

Grand Prix

Mythos released their sixth album, Grand Prix, in September 1981 on Sky.

Stephan Kaske shapes the album’s electronic soundscape with layered synthesizers, modulated vocoder lines, and interwoven sequences, balancing his roles on flute and tenor saxophone across select passages. Programmed drum figures operate as a structural anchor beneath shifting textures and tempo changes, replacing traditional rhythm section dynamics with a mechanized pulse.

Grand Prix trades texture for compression, layering thin sequencer loops and clipped vocoder refrains over rigid, pulse-based arrangements. “Jet Set” cycles through synthetic phrases with clipped sax interjections and mechanical transitions, while “Transatlantik Non-Stop” pushes a stiff rhythm over handclap percussion and a glassy, pseudo-classical synth motif. “Robot Secret Agents” breaks format with dry, unfiltered vocals and a flattened new wave pacing that barely shifts. Flute and sax show up in scattered intervals—briefly softening “Bermuda Dreieck” and “Transamazonica”—but vanish before gaining traction. The album loops its own vocabulary across variations that feel programmed more than played.

A1. “Grand Prix” (4:16)
A2. “Transamazonica” (3:51)
A3. “Transatlantik Non-Stop” (3:30)
A4. “Video” (5:15)

B1. “Jet Set” (5:20)
B2. “Bermuda Dreieck” (4:00)
B3. “Robot Secret Agents” (3:00)
B4. “Mayday” (3:51)

Kaske produced and recorded Grand Prix between May and July 1981 at his private Mythos Studio in West Berlin, a facility specialized for electronic, advertising, and film music. German News Musikverlag handled publishing, with distribution by Deutsche Austrophon. Tonstudio Pfanz completed the lacquer cutting. Hermann-Josef Müller supplied the cover photography.

Stephan Kaske – synthesizer, sequencer, drum machine, vocals, vocoder, flute, tenor saxophone, producer

Discography: