Tales...

Finding the neoclassical influence in Angelo Perlepes' Mystery's self-titled debut would require a team of paleontologists to dust off all the layers of stodgy rock riffs and awful romance lyrics that sounded like a paper shredder overflowing with Google translated wedding vows. This made the paltry arpeggios, and indeed the entire album, difficult to enjoy. I would say "better luck next time", but their second attempt Tales... didn't need luck. It just needed eight years of development and a completely different lineup, instead.

The titular guitarist's whimsical and capricious fretwork plays a much more vital role this time. No more being relegated to a series of dross, repetitive chords while the singer soaks up all the melody. Particularly in the hugely ambitious 'Woman Without Shadow (Concerto Mysterioso)', the alleged Baroque influence derived from Handel and Bach takes center stage. Perlepes injects moody, cathedralic arpeggios and leitmotifs, and a captivating acoustic refrain with zesty mediterranean flavoring.

'The Final Battle' is another standout, but one that requires I mention the band's new vocalist. His tenor range is awfully boring, much like Rising Force's less memorable vocalists Doogie White, who you probably don't remember from Attack!! and Unleash the Fury. But still, his performance is lightyears ahead of the drunken wailing that blighted Mystery's previous album, and some tracks on Tales... even showcase effective vocal harmonies with the bassist as well. God knows the bassist doesn't have anything else to do in these compositions. My biggest issue is indeed with the structure of these songs. Cheesy orchestral and choir backing carries a lot of weight, though I can't help but view them as contradictory, making an otherwise-mature neoclassical metal movement sound more like the hot cheese sundae that is Dawn of Victory. A much more promising effort than their debut, but still not much to write home about, unfortunately.