I love the term “Canterbury Sound”, how it conjures up all things ancient and terribly English. Unique houses going back centuries, gardens, a high-spired cathedral and walls of hedges and large plots of green spaces. Ahh, England. A controversial term nonetheless to some musical artists who never laid a foot in Canterbury (as well as this reviewer), it does jar the mind to bands and artists such as Caravan, Hatfield and The North, Soft Machine, Hugh Hopper, Steve Hillage, Robert Wyatt and Kevin Ayers, to name a few. In today’s musical landscape, bands such as Zopp, Syd Authur and the ageless wonder Gong continue in a similar vein. One band that you might not be aware of that carries some of that style is the German band, Argos, who have managed to fly under the radar for me, and to my great surprise and consternation though better late than never. Halfway Between Heaven and Mirth is their latest album, released just this past Summer.
Argos is the moniker of multi-instrumentalist Thomas Klarmann (vocals, bass, flute, keyboards, guitars) who was going to use it as a solo vehicle for his particular approach to the music he wanted to make. Klarmann, a veteran musician who began his career in the 1970s, decided to pivot away from progressive and symphonic rock to more jazzier rock fusion. Feeling inspired by the latest music and innovative artists creating it as well as the renewed interest in prog rock generally, during the 1990s, Karmann, along with Robert Gozon (vocals, piano, keyboards, guitars), formed Superdrama in 2004. That group is still active as of this writing. Taking his past attraction in jazz and feeling the itch to be more expressive and broaden the pallet lyrically and musically, free of the bounds of mainstream music, Klarmann formed Argos in 2005. He also assumed control but not without consultation and aid from old bandmate Robert Gozon who almost immediately joined outfit. Klarmann put some music and lyrics up on a Myspace account and it drew swift interest from Ulf Jacobs (drums, percussion, backing vocals, keyboards) who liked what he heard and subsequently offered his services and joined the band.
In addition to Halfway Between Heaven and Mirth , Argos has seven albums in their discography: Argos (2009), Circles (2010), Cruel Symmetry (2012), A Seasonal Affair (2015), Unidentified Dying Objects (2018), and The Other Life (2021).
The album’s title, Halfway Between Heaven and Mirth is similar to a title of a book by the Jesuit author, Father James Martin, S.J. who wrote about spiritual joy in living, with humour and laughter important aspects of it, in his work Between Heaven and Mirth (published 2012). Being a huge fan of Martin, I found this connection and coincidence fascinating and intriguing, and this album is indeed joyful and entertaining!
Halfway Between Heaven and Mirth consist of 8 songs and clocks in just a little over 47 minutes, with one track, Daedalus Machines, a 20 minute-suite covering almost the entire second side of the album. The first track opens the album up with perfect pop confection, Marshmallow Moon, with its perky rhythm, lyrics that have you travelling high in celestial realms, a catchy melody, and extraordinary drumming by Jacobs. We are also introduced to the magnificent Russian classically trained violinist Alexei Tolpygo, whose virtuosity whirls the track to sonic levels, quite reminiscent, at least to this reviewer of Geoffrey Richardson of Caravan. The Fire Of Life begins with this smooth, jazzy, and harmony-drenched choir coupled with a 70’s -like riff that could have come off a Pablo Cruise, Commodores, Toto, or Earth Wind & Fire album with its memorable horns, guitar, and an infectious groove. Tight and focused with great vocals, the song highlights the joy and improvisation that Klarmann is known for. At the two minutes, fifty-five seconds “intermission,” the pace slows a bit and there is a gorgeous feed of flute accompanied by soft descant vocals which opens the way for the sumptuous sax of Marek Arnold. What a track!
This album is also graced with some of the best studio musicians on the planet, one of which is Marek Arnold whose work with Damanek, Southern Empire and many others in addition to his own work, is universally known. Another is the brilliant, extraordinary multi-instrumentalist Andy Tillison who makes his presence known on the next track, Fidgety Phillip with his signature expansive keyboard playing. A jazzy, rapturous, toe-tapping melody, this tune encapsulates the sheer brilliance of the band as a cohesive unit. This is also a fun track! Philip cannot sit still and is always getting into trouble as a child, whether falling from his chair or breaking dishes, or just being rambunctious with the bridge, being like a parent yelling… Phillip!!! The song is extremely playful and light, but it conjures up a child-like feel of new discoveries and challenges and dangers found therein.
The fourth track on the album, Fontanelli’s Dream with its sense of longing and dreamy, wistful lyricism, in the vein of Barclay James Harvest and Genesis, is a gorgeous track. I wished it were longer than three minutes and thirty plus seconds. Here the expressive vocals, lush keyboards, and drumming fuse to make for a splendid nostalgia-like feel. Make Me Smile is another gem in canon of Argos music. The beginning reminded me of Caravan’s If I could Do It All Over Again, I’d Do It All Over You, with its odd melody and unique rhythm, but there the similarity ends. A wah-wah pedal driven guitar played to magnificence as well as blistering solo midway through by Bogáti-Bokor Ákos along with the strong vocals of Klarmann carry this song to a breezy and sudden brilliant finish.
Slowing the pace down a bit again and closing out the first side, The Other side is a short baroque interlude- like ditty with guiding strings and piano, with a warm English vibe to it.
Consisting of eight suites, and the longest of the tracks on the album, Daedalus Machines is a musical tour de force and the highlight of the album. Klarmann takes off all of the guardrails and provides the listener with a progressive saga. A gentle beautifully played acoustic guitar opens the track, along with a soft vocal delivery. Klarmann sets the introspective mood which, listeners be forewarned, changes quickly and abruptly with each suite as the track evolves, chugging and forging as if on a journey. Along the way we are joined by Arnold’s stellar sax, which acts as the octane and fuels the tempo. At ten minutes in the track takes another turn with Arnold and Jacobs keeping the rhythm and pace. This is a beautiful bridge section with exquisite keyboards and Arnold’s wistful sax summing up what just took place. It also provides the listener a much-needed pause to digest all that just transpired. Slowing down, there is an utterly gorgeous guitar lead by Ákos with a lovely descant harmony over it. Just stunning! This is a magisterial, literary piece that sums up the magnificent musicality of Argos. The album ends on a lighter note with an alternate version of the first track, Marshmallow Moon, a nice palate cleanser that provides a superb finish to a great album.
Between Heaven and Mirth is an accessible, compelling album filled with fascinating lyrics, sensational musicianship, and is just a hell of a lot of fun to listen to! The engineering and production are stellar. If you are a fan of Caravan, Peter Hammill, or Robert Wyatt, you might want to give this album a listen. I highly recommend it.
TRACK LISTING
01. Marshmallow Moon (3:42)
02. The Fire of Life (5:13)
03. Fidgety Philip (4:20)
04. Fontanelli’s Dream (3:34)
05. Make Me Smile (4:28)
06. The Other Life (1:51)
07. Daedalus Machines (20:17)
– i. Contemplation
– ii. Rupture
– iii. Pandemonium
– iv. Serenity
– v. Labyrinth
– vi. Predicament
– vii. Temperance
– viii. Fortitude
08. Marshmallow Moon (alt. version) (3:46)
Total Time – 47:11
MUSICIANS
Thomas Klarmann – Bass, Flute, Keyboards, Acoustic Guitar, Lead & Backing Vocals
Robert Gozon – Lead & Backing Vocals, Keyboards, Electric Guitar
Bogáti-Bokor Ákos – Electric & Acoustic Guitars, Backing Vocals
Ulf Jacobs – Drums & Percussion, Keyboards, Lead & Backing Vocals
~ With:
Alexei Tolpygo – Electric & Acoustic Violins
Marek Arnold – Saxophones
Andy Tillison – Keyboards
ADDITIONAL INFO
Record Label: Independent
Country of Origin: Germany
Date of Release: 5th July 2024