Skip to main content

Mystery: Delusion Rain

The Canadians step into a new era.

There’s a lot of drama in the music here.

Come to think of it, there’s a lot of Yes in the music, with Drama being referenced as well as other notable moments from this most imposing of influences. However, Mystery overcome the temptation to turn into something of a tribute band by never allowing any of these reference points to lead them down dimly lit cul-de-sacs. They always remain true to a desire to be individual and aware.

This is the first album the Canadians have recorded with vocalist Jean Pageau, who has taken over from Benoît David. The new man sounds very different to his predecessor, something you can hear as soon as Delusion Rain opens up its deep coffers. He has a beguiling, entrancing voice that operates in a somewhat low-key manner. What Pageau appreciates is that the music here works best when his performance is used to enhance the glorious keyboard/guitar interplay between Benoît Dupuis and Michel St-Père. The former creates an atmosphere that complements sumptuous passages with the occasional drip of an eerie climate, while the latter has a gentility that cloaks an ability to vary nuances, from the graceful to more spiky.

A sweep of deftly cohesive ideas – their finest album so far.

Mystery make this all work brilliantly on The Willow Tree and The Wall Street King. Both of these are actually compositions which go back nearly 20 years, to the time of the band’s first album Theatre Of The Mind. Each is majestically expansive, building from a subtle opening that is reminiscent of Hergest Ridge-era Mike Oldfield into something very cinematic. The Willow Tree is a lengthy excursion which spreads itself over a colourful canvas of ideas. It brings in motifs from so many different sources (Genesis, Caravan, Gentle Giant, Dream Theater), yet holds it all together in a tumultuous arrangement. It’s a mix of ghostly prog images and more contemporary notations. Séance meets science, if you will.

The Wall Street King has an underlying melodic supply, forming the foundation for a track that has a sturdy central pillar, yet weaves a web of interlocking musical declarations around this. But the climax comes fittingly with the closing piece, A Song For You. This encapsulates all the finest aspects of Mystery, combining a power redolent of ELP with the jazz rock inflections of Billy Cobham, as well as the more sensitive areas of 70s Genesis. It all comes together in a sweep of ideas that manages to be deftly cohesive rather than a mere montage of ideas.

Ultimately, Mystery have emerged stronger than ever here. Delusion Rain is arguably their finest album so far.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.