THE OTHER LIFE

I discovered ARGOS with the previous album "Unidentified Dying Objects" released in 2018 presenting a strange and paradoxical cover, subtly suggesting the present and the future by a brand new stone column whose reflection in a lake made a ruin appear in the place. I wondered then what would be the next illustration, what abstraction will we have to discover ...? Well, almost the same thing, always time as a theme, here with the present and the past nested in the same landscape. The listener who discovers ARGOS for the first time will be able to legitimately wonder about the type of music engraved in the groove at the sight of this bizarre thing ... Whether you like it or not, here is a cover that will not leave anyone indifferent. ! But there is nothing supernatural because we are in the presence of an enormous rusty centrifugal pump in the industrial art style dating from the beginning of the last century planted in a pastoral setting, it is harmonious like the nose of the Demoiselles d'Avignon by Picasso but with a happy and original visual impact!

ARGOS is the project of Thomas KLARMANN passionate about 90s Prog music like SPOCK'S BEARD or THE FLOWER KING. Note the arrival at the helm of Romanian multi-instrumentalist Akos BOGATI-BOKOR replacing Enrico FLORCZAK. ARGOS offers us a sixth album entitled "The Other Life", a wide variety of songs, ranging from classic neo-prog to Canterburry through retro and contemporary soft progressive Rock. This group which plays in the eclecticism uses a little too much what one calls the "influences", making it easily readable even too much ..., but for me and I do not hide it from you, it is a real happiness to review an album with so much visibility. These Germans stroll in a rather theatrical style in the GENESIS range with a typically "British" vocal articulation, and for main and non-exhaustive markdowns CARAVAN, I'AM THE MANIC WHALE, NEEDLEPOINT ... We can characterize the lyrics of the songs as surrealists or dreamers such as "Chamelion Sky" or "Johnny Head-in-Air". The compositions are bucolic, calm with folk / pop tendencies giving the desire to lie down on the grass and contemplate the green landscapes. But what green wood does this new opus have?

"Chameleon Sky" opens to childish airs in the style of CARAVAN accompanied by instruments played and sung intermittently with disuse. The tone hardens and accelerates, followed by typically neo-prog guitars giving dazzling lights to this song which deviates and constantly binds to the Canterbury school (8.5 / 10). "Broken Mirror" deals with the suicide of a loved one, a serious subject that can only be sung with gravity, a simple song without a trace of Prog, very sad and musically without much interest (6/10). "The Twilight Mind" is a pure marvel! From high-class neo-prog with plethora of influences, I could quote out of order: ILUVATAR, Al DI MEOLA, OZRIC TENTACLES, IQ for the voice of Peter NICHOLLS. At 1:12 we will be able to taste a miraculous flute guitar organ combination, and the voice of Robert GOZON fitting perfectly into this enjoyable piece built on a melody in harmonic degradation for our greatest pleasure (9.5 / 10). Another successful piece with "Johnny Head-in-Air". Typically "caravan" bucolic atmosphere mixing with a magnificent luminous bossa nova, bewitching PINK FLOYD tunes, recognizable cadences in the style of BIG YOGA MUFFIN, a clarinet that shivers and flies away like SUPERTRAMP played virtuosously by Marek ARNOLD, a neo-prog electric that always fits in the right place and a rhythmic and welcome pan flute. In short, a brilliant patchwork that will make you shudder after a few plays (9.5 / 10).

"I Carry Light" reminds me musically of CARPTREE and Nicklas FLINCK's way of singing. This symphonic opus will present some layers of YES, but without the same inventiveness (7.5 / 10). "The Trial of the Pyx" sends out blows that KING CRIMSON would not deny, dissenting articulations like CIRKUS, a voice close to Peter HAMMILL which does not invite serenity. A semblance of harmony appears however with the arrival of a guitar similar to that of Jimi HENDRIX, surrounded by voices finally tuning, to become melodious (8/10). "Weak End" is a short, happy and sunny song, a little pop, not really prog with backing vocals strangely resembling YES or GENTLE GIANT, it's as you want ... The course of this song can be summed up in three groups: PREFAB SPROUT for the pop part and vocals, IQ for the synths and YES for the polyphonic chapters and some instrumental parts (8.5 / 10). Unlike his previous "The Shall See Hotel" does not inspire the joy of living. A dismal voice from afar begins this ordeal to wake up in the company of beautiful electric guitars, expressing itself in silky arpeggio solos followed by a nervous and timely wah wah guitar. Impromptu saxophones will enhance this good musical piece, the end will end as it began ... in the grissaille. Surely the most inherent song in ARGOS (9/10).

"The Library of the Future" is a short, minimalist rhyme-style ballad. With the load of an acoustic guitar, the rustling of mellotron, the engagement of a vintage synth when the rhythm accelerates and the voice engages. It's simple but beautiful! (8.5 / 10). This opus is definitely inspired by the Canterbury school with CARAVAN at the top of the list. A calm and solid album, with a more introverted and more analytical aspect than the previous one, but fishing a little for lack of progressive extravagance. The touch of Ákos BOGATI-BOKOR undoubtedly brings freshness to this careful work. The production, which does not lead to any comment, was carried out for the first time in self-realization. The wav tracks received are of optimum quality and provide excellent musical follow-up for the high-fidelity enthusiast. When we compare this cake to the previous ones we realize that these musicians are always in search of new horizons, and that they know prog and their classics inside out. An album to place in your collection without hesitation!