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The Story so far...

1970's- FM radio, Alternative Magazine & 1st US Indie Distributor of Euro Rock

1980's- D.I.Y. LP + Cassette & CD label

1990's- Distribution via the WWW

2010- ~ Multimedia Podcasting, Interviews & Reviews.

Label & Artist Submissions Accepted for Review...



Exclusive Post Millennium Interviews

w/ Musicians & Producers

Pioneers of Euro Electronic

Space, Progressive, Experimental Music

Past ~ Present ~ Future!




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Mikhail Chekalin





Klassik Krautrock




Amon Duul 2




Ash Ra Tempel Live Paris




Manuel Göttsching




Baumann & Roedelius in Studio '78








Embryo in Tangiers




Guru Mani




Klaus Dinger




Ralf & Florian - LIVE USA 1975




Bartos & Fleur - LIVE USA 1975








Popol Vuh




Conny Viet




Tangerine Dream OHR Era




Uli Trepte Spacebox LIVE








Wolfgang Sequenza








Klaus Schulze




Floh de Cologne












Manuel & Rosi




Tangerine Dream Virgin Era




Witthuser & Westrupp




Starry Eyed Girl




Rolf Trostel




Rudiger Lorenz




Din A Testbild




Der Plan




Artistes Français




Lard Free




Urban Sax




Gilbert Artman




Art Zoyd




Univers Zero




Etron Fou Leloublan




Pascal Comelade




Armand Miralles








Annanka et Ivan - Fondation




Thierry Muller - Ilitch








Yochk'o Seffer




Richard Pinhas




Patrick Gauthier








Shub Niggurath








Andre Baldeck - Decko




Déficit des Années Antérieures




Didier Bocquet




Dominique Grimaud - Video Aventures




Monique Alba - Video Aventures




Patrick Vian - Red Noise








Zazou et Racaille - ZNR




Jean Pascal Boffo - Troll








Bernard Szazner




Igor Wakhevitch








Robert Frances - Sirenes Musique




Neuronium & Ashra




Neuronium & Vangelis




Michel Huygen - Neuronium




Juan Crek & Victor Nubla - Macromassa




Luis Perez




Carlos Alvarado - Via Lactea













Q: Let us begin with a little ancient history. When you first conceived the group Mythos - it's name and musical sound - what was your inspiration? It seems a very "cosmic" musical concept.

We wanted to get on stage; we wanted to go on tour; we wanted to become famous and we wanted the girls! Honestly, we didn't think beyond that.

 Q: What music had you listened to previously that influenced the early Mythos style?

Mainly progressive and psychedelic stuff. Here is a listing of the live-set-list we performed at the end of the sixties  before  and while we composed our first own songs. Here is my calendar of summer '69. We played up to 5 songs of i.e. Pink Floyd, Jethro Tull, Iron Butterfly, The Doors, Steamhammer, Spooky Tooth or Ten Years After.

Q: I remember when I got the first album, saw the cover and heard it; I was astounded, as I'd never heard music like that. How did you come into contact with the OHR label and convince them to release such non-commercial music?

That has been rather simple. We had more than 100 concerts a year all over Germany in 1970 and 71. We also played several times in the legendary Beat Club Langelsheim. The boss was a real fan and a big supporter of Mythos and when he organized the Langelsheim Festival in summer '71 (the German Woodstock) with lots of rock world stars like Family, Ashton, Gardener & Dyke, Coliseum, Steamhammer, Golden Earring, Nektar and many others, he let us open the program on both days! So we had the full attention of the media and the people (the place was overcrowded with more than 14,000 enthusiasts) especially Mythos fans from all over Germany. It was an incredible experience and success in spite of our unique, but not very commercial music. That's why not only lots of club and festival managers knocking at our door; OHR convinced  us  to produce a record for them!

 Q: Do you remember how many copies it sold?

Still no need to remember! With time the first 4 albums developed into classics and are reissued periodically. More than a dozen companies worldwide paid and still pay for copies and copyrights of the Mythos I. I know at least of 3 labels offering the CD's today.

 Q: Have you any idea what ever happened to Rolf-Ulrich Kaiser and Gille Letteman?

Not really. After they had blown away their brains with dope they lost their credibility, reputation and at last their music and imperium. Dieter Dierks got all this in '78 or '79 as far as I know. Now his organizations (i.e. Venus Records) are managing the labels and pay my licenses. In 1980 "starmaiden" wrote me a letter with extreme confused "cosmic" stuff. I answered her letter shortly to wish her good luck (honestly), but my letter returned unopened. "Sorry, Mr. Kaske. I cannot open this letter addressed to Gille Lettmann. Please send it again to >Starmaiden<!", she had written on the envelope. Anything left to say ?!? 

 Q: After OHR you went to Sky Records and the Venus Records labels, your style changed somewhat. How would you describe this evolution in your sound? Perhaps you simply got older and better in terms of musicianship, or did your whole concept for the group change?

You see, we've been in a special situation. Mythos had been a real performing live group all over for it's first 10 years (contrary to many of the electronic musicians of that time). Remember, we played hundreds of concerts, festivals and especially Langelsheim. I did and financed absolutely everything in the group. I did booking gigs telephone, mail, procuring posters, photos, press info., lighting, P.A., managing all media-things, paying for the truck (and driving it), the rehearsal room, hotels, a.s.o. I did all this to find musicians to perform my music and to continue the Mythos-story. We simply needed lots of concerts to survive! And the only way to get those gigs and moreover a record company deal seemed to be to make more commercial music with more action. The times they are a-changin'; it was just not possible to get gigs and contracts with sitar, improvisations and 20 minute songs and "only" a certain portion of action.

All that led to the musical stuff of our Lp's  Strange Guys  and  Concrete City (Lp no.3 and 4 released by Venus). At the end of the seventies, when the band "had troubles" again, there were new technical possibilities! The development of drum computers, software sequencers and certain studio equipment made it possible to create new musical ideas and sound without musicians and a thousand foul compromises! That's why and how I made my demos during '79 and contacted SKY to get a contract. All of that resulted in Lp’s no.5 and 6, Quasar and Grand Prix.

Q: After this time (in the late 1970's, early 1980's if I remember right?) Mythos disappeared. I always wondered what happened, then I think it was in the early 1990's that a friend told me he had gotten a new production - a double/triple (?) CD of classical music done electronically. Did you stop making music for some time, or take a hiatus form the music scene? What have you been doing these last 15-20 years?

In fact up to the 1980's I worked with my music and became very successful. That's why in 1981 I founded my own studio - Mythos Studio Berlin (MSB). Because I've been well known in the musicians' scene and had many press and radio appearances for the record release of the album Grand Prix ("Berlin boy recorded an Lp in his own studio!!"). Within a few months I could order a professional 16-Track-recording machine (in '82); 24 and 32 tracks followed later on. Also 32-channel-mixer (today 40-channel, computer mixer), digital stuff and effect-units I never heard of before. Remembering those early years I still smell the interior of my first new Jaguar. For years I lived in it, as well as in the studio except the few hours of sleep at home. Up to today more than 1000 groups, projects and musicians of all kind of styles have worked in the MSB. All my compositions and musical themes of that time were used for numerous TV- and radio-commercials or video- and film music.

Remember: after 4 Lp's in a row ('78 to '81) I had been a little "fed up" with producing my own music. Moreover everything had been "bulldozed" by the stress and success of the MSB. But in all those studio-years I sampled ideas, tricks, effects, melodies, sounds and more in several, finally big folders. And in the end of '88 I began to produce new Mythos music. But then happened the "Big Hammer", like a "Cheap Shot"! I sent nearly 100 demos all over the world to get a contract, all in vain ... Everybody refused to listen to the tapes (...“to be fair to our present artists..., ...currently not accepting unsolicited demo submissions...“, etc.) or simply ignored them! Finally in 1989 I remembered an "old ally" (from the Strange Guys/Concrete City years) and asked Jürgen Jacobsen who managed several companies in Switzerland. The following is part of Mythos history. He ordered and has published up to today 8 Mythos CDs and approximately 20 additional releases (i.e. M.A.S.S. and Classic on Synth productions).


Q: Perhaps you can make a listing of all the albums you have done over the years?

OK., let's have a look at least at the Mythos discography:

MYTHOS (Ohr LP1972), DREAMLAB (Cosmic Couriers LP1975)

STRANGE GUYS (Venus LP1978) , CONCRETE CITY (Venus LP1979)

QUASAR (Sky LP1980) , GRAND PRIX (Sky LP1981), MYTHOS LIVE (Hits & Fun Maxi-Single +CD1989)

MYTHOSPHERE (Selected Sound Carrier CD1990), SOUND OF SILENCE & HARMONY (Art & Music CD1995)

PURRR-SYMPHONY (Art & Music CD1997), (W)INTERMEZZO (Art & Music CD1998)


FEUILLAGE (Art & Music CD 2001)

 Q: I've heard the latest releases and in some ways the sound is still the same, but with a more sophisticated approach. Would you say that the music and concept of Mythos has changed over the years? Or perhaps it's still motivated by the same concept?

What a difficult question. You see, the world is changing dramatically and faster all the time. If you do not react to it and accommodate yourself to it you're simply going to disappear like the dinosaurs or the producers of wooden mail coaches. In the musical world you won't find concert venues, record companies and media feedback and thereby an audience. Musicians "die softly", imperceptibly! That's why a certain change in the music and concept has been a must. Otherwise Mythos would have disappeared in the early seventies like so many others before and after. On the other hand, the Mythos project is still inspired by the original motivation, the same spirit as in the very beginning! Search and find musical formats outside of the mainstream. If you can't avoid listening to other popular music - do the contrary. If 140bpm stand for success and the charts - my music's going to have 14 beats per minute! Try, experiment, provoke! But always stay on top of the tight rope. You are dancing between the realization of your dreams and the deep commercial fall!

 Q: Materially your situation surely has changed. Now you produce and release your own music. Do you also work in other fields that complement this creative side, or have a more diverse occupation that allows more of a yin yang situation in regards to your musical creativity?

Beside producing music I've got only some (hated) tasks to manage a certain property and some investments. But that's only a necessary kind of burden stealing my time. My real beloved alternative to the musical work is: active sports!

Since 1990 when I bought my first mountain bike I ride in the Berlin forests as often as possible, 1 to 3 times a week, all through the year. Additionally since 1996 my favorite passion is speed skating! Approximately 5 to 7 times a year I skate in marathons (esp. the famous Berlin M.), half-marathons and city runs all over Germany. Ice-skating, indoor-cart-racing in winter and snooker and billiards complete the range of my interests outside of music.

But believe it or not: music's all around. Especially during the many hours out in the fresh air on the bike or speed skates, all alone in a wonderful environment, I sometimes get new musical ideas.


Q: We now truly enter the millennium period during 2001 and Mythos is 30 years old musically. If you had it all to do over again would you do anything differently?

Contrary to what many people might say (...who did it MY WAY...), I would love to change and repair many things. I've made so many mistakes, unfortunate decisions, wrong moves and disappointed, or hurt some people in all periods of my life. I say, I’m sorry to everybody to whom it concerns!

From the musical point of view especially I should have finished the group-activities perhaps sooner, after the split of the Mythos I in 1973. It would have been probably more effective to invest all that time, energy and resources not in trucks, rehearsal rooms, P.A., light equipment and musicians, but in instruments, computers and recording equipment. But that is hypothetical. On the other hand, I would have never met my beloved wife. We have been together since the1977 Germany tour and have a daughter since '92.

Q: Do you personally feel "cosmically" changed by the last 30 years, or have you become more down to earth?

Actually, I think I always stayed the son of a merchant (Hi daddy, everything's alright in Heaven!?). That may sometimes reduce the cosmic range of ideas; but it's taking responsibility for a punctual and reliable delivery of work. I guess my partners enjoy it.

 Q: What would you like to happen with Mythos in the next 30 years?

There is a commercial spot on German TV - somebody asking a woman what she would like to change: "Everything should stay like it is ...", she says. This corresponds to my feelings best today!

I love to produce 2 or 3 CDs for Jürgen Jacobsen a year, to work with those young guys in the Mythos Studio Berlin, and to race on blades and wheels through the forests, nature and cities!

Apart from this I would be seriously interested to have productions with some of the Big Guys of Electronic Music worldwide. Maybe exchanging song themes/fragments/parts/ideas via Adat format, or via the internet. Then adding ideas, sending it to and fro’ a few times and mixing it finally somewhere in the world, or at the MSB ?!?

- Archie Patterson