ARGOS

1. "Chameleon Sky" (6:31) so pretty and melodic, in the best vein of quirk-poppy XTC or Genesis. A tip three song for me. (9/10)

2. "Broken Mirror" (4:14) nice song that is diminished slightly by the lifting of Genesis "Duchess" programmed drum line and a few pitchy vocal lines. (8.75/10)

3. "The Twilight Mind" (6:45) the first of several Peter Hammill-like vocal performances over some fairly simplistic classic rock music (Journey, ABACAB Genesis). (8.5/10)

4. "Johnny Head-in-Air" (5:25) straight out of early Caravan/National Health only more cohesively melodic like early solo Brian Eno or Jethro Tull. My favorite song on the album. (9.5/10)

5. "I Carry Light" (5:46) such an unusual song--reminding me of the often dense and convoluted sound of Thomas Thelen songs. (8.5/10)

6. "The Trial of the Pyx" (7:58) with the lyrics and singing of Peter Hammill and David Bowie but the music of Styx or Toto. (13/15)

7. "Weak End" (3:10) back to a richer sound palette like the first four songs, there's an debut album Ambrosia-like innocence to this one. How?! And then they try to go Gentle Giant! (8.75/10)

8. "The Shall See Hotel" (6:23) cool, rich sound to start out this mood piece, it turns "heavy" pop rock and loses a bit of its allure. Some awesome guitar work, though, and welcome sax and vocal performances. (8.75/10)

9. "The Library of the Future" (3:26) acoustic guitar and solo voce--like a Prog Folk song. Could be a Steve Hackett solo piece. Nice. My final top three song. (9/10)

Total Time 49:38

B+/4.5 stars; a truly unique and different and delightful listening experience that I think most every prog music lover would enjoy.

With "The Other Life", "Argos" present their sixth studio album, which is spread over 9 tracks between 3 and 8 minutes in the context of familiar sounds (prog rock instruments, playful, jazzy chord progressions, pointed vocals, melancholic but optimistic texts, etc.) but also offers something new and exciting. Stories and music evoked moods change, but always remain comprehensible, each topic is given its adequate space, the atmospheric setting is warm and pleasant, more daydream-like than hectic.

In their musical cosmos "Argos" operate at their usual high level, plenty of musical content flows into beautiful melodies, thoughtful texts evoke images in the mind of the attentive listener and the evermore varied presentation provides aesthetic pleasure. As always the cover is artistically designed. Thomas Klarmann (bass, flute, keyboards, vocals), Robert Gozon (vocals, keyboards), Ulf Jacobs (drums, percussion) and the new "Argonaut" Bogati-Bokor Akos (guitars, keyboards, vocals) create a beautiful work of the prog -rock, which is available on CD, vinyl and as a download (Bandcamp).

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!

"Chameleon Sky" opens with a Charisma melody, between GENESIS and CARAVAN; the tune on jerky 'A Trick of a Tail, Akos guitar firmly in place, repeating track with airy synths. 'Broken Mirror' 'on a slower tempo, a rhyme that may remind of Phil Collins; monolithic, bucolic. "The Twilight Mind" and the title taking off with progressive entry, well almost; of the flute like in the good old days, the instruments in search of the air which takes off and the new guitarist Akos of YESTERDAYS which ensures and which bursts, rhythm syncopated by the voice which ogles on the ballads of the GENESIS. "Johnny Head-in-Air" for a softer, jazzy, folkloric, Ian Anderson-style flute and Marek's saxophone then it bustles with a nervous guitar-keyboard-sax riff.

'' I Carry Light '' for a beautiful intro as one would imagine, edited with a sound that would not deny the MINIMUM VITAL for keyboards, it's fresh; the air is more rhythmic and is reminiscent of second-draft Genesis nursery rhymes; monolithic end. "The Trial of the Pyx" to a destructured KING CRIMSON tune, I think of "Red" right away; the neo is also present by the place given to keyboards and the Fishian voice; it looks like another group; Akos' solo is very enjoyable, the synth solo starts with good MANFRED MANN EARTH BAND; the best progressive, hovering title. '' Weak End '' conventional title fortunately embellished with a mini opera in 'Bohemian Rhapsody', bucolic air back. "The Shall See Hotel" is the length but this playful track is truly fresh, Marek's jazzy sax is just gorgeous and the catchy Crichton guitar spurts all over the place, finally unpredictable; I push the replay. '' The Library of the Future 'for the minimalist acoustic ballad, nursery rhyme style with a proper vintage synth.

ARGOS has changed its mind and is moving away a lot from its values ​​of yesteryear with very conventional titles in my opinion, pleasant but not giving any particular emotion, the air too jazzy at times, too jerky and predictable . The voice of Robert often flirting with that of Peter Hamill is an undeniable plus but here it lacks a little progressive madness, Canterbury or other which would give more cachet to this album.

And it's nice to notice Marek Arnold participating, due to some saxophone contributions on this occasion. Finally the vocals are offering a proper service again. Provided by Thomas Klarmann and Robert Gozon their charming singing voices are including nuances of Richard Sinclair and Peter Hammill, unsurprisingly, nearly as expected. Almost forbidden, but I would like to note two tracks especially anyhow. The Shall See Hotel definitely rocks the party, very nice guitar solos included. And I love the touching semi-acoustic ballad The Library Of The Future which closes the album. This production is intensively inspired by the likes of Caravan again. Sound-wise other references might also be bands such as I Am The Manic Whale or Needlepoint in some way. A very solid album, deserving four out of five stars in the end.

Opener `The Hunters Last Stand' unveils plenty of drama and urgency throughout its evocative storytelling lyrics, delivered with charismatic effect by way of Robert Gozon's commanding Peter Hammill/Peter Gabriel-esque croon. The band apply no shortage of reprising Hammond organ purrs and crisp electric guitar themes throughout, and The Tangent's keyboard player extraordinaire Andy Tillison plys slathers on all sorts of synth colour in some extended up-tempo instrumental sprints in the latter half. The infectious `Parade of Unpainted Dreams' has a sprightly Caravan-like spring in its playful step, a cheerful Canterbury-esque breeziness to its sparkling electric piano and lightly chugging guitars, and `Beneath The Valley Of Sleep' adds darker jazz textures and uneasy slinking grooves to its dream-like words.

There's a gently unnerving kookiness to `The Days Of Perky Pat' that lyrically captures the same comical imagery with darker edges as something like Genesis' `Return of the Giant Hogweed', and `Shockheaded Peter' has a similarly clipping spring in its step to the title track of their `A Trick of the Tail' LP from '76 without being simple imitation `Still Fighting Gravity' is predominantly an instrumental (save for a brief surreal vocal passage in the final moments) of creaky Mellotron, tastily gnarling guitars and fancy flute, and some electric piano tinkling, lively sax and fuzzy organs call to mind the Soft Machine. `Elsewhere' is then an elegant yet insistent ballad that will greatly appeal to fans of crossover-symph band Big Big Train.

Most prog albums should have a lengthy epic, and the near-nineteen minute, eight-part `When The Tide Comes In' not only doesn't disappoint. It's a broad mix of doomed gothic sophistication, reflective piano breaks, wild guitar aggression of heavier churning bursts and tranquil jazz interludes, and a science-fiction-themed deadly serious narration throughout is hilariously comedic! But it's the equally whimsical and dirty sax soloing, and Robert's embracing of his Hammill-esque demented superior snarl that will greatly appeal to Van der Graaf Generator fans - and miraculously the piece holds together with a cohesion and consistent flow.

It's perhaps not as instantly accessible as a great many parts of their superb previous disc `A Seasonal Affair', but that more obvious and immediately melodic approach has been replaced by a hugely satisfying depth, a complexity to little details and a daring unpredictability, making the album truly a case of musical split-personality! Add in alluring vocals, diverse instrumentation from some supremely skilled musicians and ambitious arrangements, and everything together contributes to `Unidentified Dying Objects' being Argos' defining musical masterwork to date.

Four stars - and bonus points for Bernd Webler's stunning artwork.

Their second album 'Circles' (2010) added guitarist and producer Rico Florczak to expand their sound, followed by 'Cruel Symmetry' in 2012, and the highly-acclaimed 'A Seasonal Affair' (2015) featuring guest talents Andy Tillison and Marek Arnold. The band also began performing live, including making a much-lauded appearance at the Summer's End festival in 2014. Both Andy and Marek are back on this album as guests, along with Linus K'se (alto saxophone) and Johannes Steinbronn (trumpet). The guests bring in additional textures and styles into an album which in many ways is a quite unique blend of Canterbury scene influences and contemporary progressive rock. In some ways it is as of classic Caravan is mixing it up with 'Trespass'- era Genesis, but then bringing in Spock's Beard and IQ. Although I felt that their last album was somewhat disjointed and forced, this has a far easier flow to it, almost as if with their fifth studio album they have decided to relax into what they are doing, and the album is all the better for it. Modern, with a very retro twist indeed, this album is mixing together elements and styles from the prog scene decades apart, and shows just what can be achieved when it is done with care.

This is one of my favorite bands of the modern prog era, consistently producing high-quality progressive albums full of emotion, great storytelling, a high level of musicianship all around, and inventive melodies. The CD package for "Unidentified Dying Objects" also contains great artwork, which is another consistent trait of their albums.

I think I still rate their previous album "A Seasonal Affair" just slightly better than this one. But if you can imagine VDGG playing songs with similitudes to Genesis, Gentle Giant and later-period Beatles(!) in an occasionally Canterbury-ish way, you'll get a bit of an idea of how this album sounds overall. The lead singer has a voice very similar to Peter Hammill, but avoids the strained vocals that Hammill occasionally visits. The drums are active and interesting without being overpowering; the keyboards are great, and the frequent use of organ lends itself to the VDGG comparisons again; you get plenty of meaty bass playing in the style that Chris Squire pioneered; some nice tastes of flute, sax and trumpet sprinkled in; but you can't (or I can't) have a truly great prog album without really fine guitar playing, and it is absolutely outstanding on this album.

This band does not have a bad album in their catalog. I daresay they've never recorded any bad songs. "Unidentified Dying Objects" is one more great addition to their oeuvre.

I'm going 4.5 stars on this one.