KING OF AGOGIK

This is the first time I have come across the band King of Agokik, who have been releasing albums since 2006, and this is seventh, following on from 2017's 'Morning Star'. Somewhat unusually this band is based around someone who is first and foremost a drummer, namely Hans Jörg Schmitz. Here, as well as providing drums and percussion he also adds keyboards, guitars and bass, but also brings in other musicians to assist him in achieving his vision. Many of those involved with this album have played on other releases as well, and I spotted the name of Andrew Marshall (Willowglass) on a few of them, while Steve Unruh (Resistor, The Samurai of Prog, UPF) is also someone who has been involved with Schmitz for some years.

Instrumental eclectic drum-driven progressive rock is the order of the day, and there are times when it can come across as very heavy indeed, Take "A Day Without End" for example, as this has sections where it is blasting out, which is somewhat unusual as the lead instruments are at times acoustic guitar, flute, drums, keyboards, violin and bass, although the electric guitar is used at other points as well. There are times when this is symphonic, others it veers more into jazz, yet it always has that common thread of powerful drumming and back beat which continues to make it inherently listenable and enjoyable. I found it very easy to get into it the very first time I played it, but others who may not have quite as catholic tastes as mine may find this somewhat hard work, but it is certainly worth persevering with. Schmitz has put a slightly different approach into the songs, coming as he does from the percussive world, and here it works very well indeed.

German project KING OF AGOGIK is the brainchild of composer, drummer and musician Hans Jorg Schmitz, and ever since 2006 he has created and delivered a steady stream of expressive and elaborate personal takes on the art of progressive rock, with perhaps an ever so slight emphasis on this kind of music as seen from a drummers perspective. "After the Last Stroke" is the seventh and most recent of these productions, and was released through Schmitz' own label Saustark Records in 2019.

Eclectic, expressive and somewhat demanding instrumental progressive rock is the main playground for Germany's long lasting project King of Agogik, where main man Hans Jorg Schmitz and his minor army of musical guests holds court to a colorful and varied take on the genre. This time around with a foundation in the symphonic parts of this universe, but with detours to both jazz and world music in addition to occasional passages flirting with both neo-progressive rock and music that is borderline progressive metal. An album that merits a check by those who tend to enjoy expressive and eclectic instrumental progressive rock touching base with style variations as outlined.

German project KING OF AGOGIK is the creative vehicle of composer and musician Hans Jorg Schmitz, and from 2006 and onward he has released new albums at regular intervals through his own label Saustark Records. "Morning Star" is the sixth of the seven studio albums released under the King of Agogik name so far, and dates back to the start of 2017.

King of Agogik has a tendency to create albums featuring music that spans multiple styles and with a liberal amount of changes and alterations within each given composition, and not always with a logical connection between the different styles explored at that. These are music paintings more than anything else, at least as I regard them, fairly complex and challenging creations made as sound images rather than sound journeys. Somewhat different to listen to than many other artists, but also rewarding once you get the drift of it. An album to recommend to those with an open mind and free of the shackles of restricting their musical tastes to a defined selection of sub-genres of progressive rock.

The man behind this band being a drummer and a teacher, it's not out of the ordinary to hear an album filled with plenty of drums sounds, sometimes complex patterns which give to the listener tough times to grasp to the melody. There is also plenty of others instruments including violin, flute and the even the uilleann pipe! Some busy keyboards at a furious pace and some classical arrangements remind me of Citizen Cain in a lighter approach while there is some darker passage as well. If you can imagine someone that mix the symphonic with some heavy parts displaying some unique instrumentation, and some exotic touches, you get the idea that this music can't be boring, and will give you hard time guessing which direction it goes. For me, it's another very satisfying instrumental progressive rock album.

An amazing journey through progressive rock!

First of all, I would like to thank Olav Bjornsen for introducing me to the music of Hans Jörg Schmitz, a talented German multi- instrumentist who creates music under the nickname of King of Agogik, a project which started back in 2006 and so far has given us five studio albums, being this one the latest and honestly, the first I knew. Schmitz is a wonderful drummer, we can notice that through the whole album, however, he also has the creativity to compose bombastic and challenging songs that work as an example of what progressive rock is about, and also as a rendition to some rock and prog icons.

The album features 11 songs and a total time of 77 minutes in which Schmitz and a lot of great musicians collaborate to give the listener a vivid musical journey, full of virtuosity and entertainment, in which symphonic prog and heavy rock meet, just as we can notice in the simply stunning "11th Sense", a mini-epic in which the music is fulfilled with energy and different changes, creating a truly progressive rock fiesta in which fragments of old and better known songs/bands are taken as a tribute and as wonderful elements that bring original music. Here you will remember (on purpose) Yes, AC/DC, ELP, Van Halen, Asia, among others.; and you might also associate of King of Agogik's music with other great musicians such as Willowglass. Great track!

Every time I listened to the album I wondered why this project is listed under the neo-prog genre, because the music is truly eclectic in spite of the evident symphonic tendency some tracks share. A great example of eclecticism comes in "Nomouglea" a song that has a beautiful folk-like first part, with a delicious violin included courtesy of Steve Unruh, but later the song changes and offers a terrific guitar solo that will make you have a memorable moment. In fact, there are several wonderful moments throughout the album, pieces of prog rock that any fan could appreciate.

It is incredible to see the different "faces" of King of Agogik from one track to another, however, all of them were composed and recorded with passionate musicians that let us know that progressive rock is alive and kicking asses, despite the low profile of projects like this have, profiles that we (the listeners, reviewers, etc.) should try to elevate. Artists such as the same Willowglass (Andrew Marshall) who collaborates in this album playing spanish guitar in "Sheol", another pretty eclectic track.

The musical journey might be endless here, so the surprises, because after some short tracks such as "Lick Me" which once again shares some renditions to old iconic songs such as My Sharona, Are You Gonna Go My Way or even Smeels Like Teen Spirit, King of Agogik delight us with a prominent 23-minute epic full of sounds, changes, rhythms, a mighty progressive rock rollercoaster that would satisfy any prog fan. I totally love the keyboard work here, it is amazing, and I like how they manage to make infinite changes and keep us enthusiasted listening to the music, so there are not weak moments here, I believe. In this long epic Schmidt makes another tribute, this time to Jethro Tull and the amazing Thick as a Brick.

The only thing I could say that did not make me happy is that the album is quite long, I mean, when the music is great you enjoy it no matter if it lasts 5, 30 or 60 minutes, but for a single record I believe 77 minutes are too much, so the listener could feel a bit tired in moments. But well, after all, I am so happy to see these kind of musicians creating wonderful music and spreading it through the world, because they deserve to be better known, the music speaks for itself.

Enjoy it!

German project KING OF AGOGIK is the creative vehicle of veteran drummer and composer Hans Jorg Schmitz. From 2006 and onward he has steadily released material under this moniker in between other assignments and obligations. "Exlex Beats" is the fifth of his quasi-solo albums, and was released through his own label Saustark towards the end of 2014.

While there is a lot of variation and a certain eclectic spirit surrounding just about everything on this CD, "Exlex Beats" comes across as, first and foremost, an affectionate celebration of the spirit of progressive rock. Some inclusions from related styles of music can be found, which can possibly be regarded as minor statements about the influence progressive rock has had on other genres of music, but it is the progressive rock aspect of this production that comes across as the main focus. Which perhaps an impression formed due to the various homages found on certain key compositions, causing an effect on the end listener that hasn't been planned by Schmitz himself. Still, this is an eclectic instrumental album of progressive rock that merits a check by those with a particular fondness for this type of music and keen to hear artists celebrating it.

King of Agogik is a project led by drummer/multi-instrumentalist Hans-Jorg Schmitz who already has a nice series of recordings under his belt. Btw, 'Agogik' is according to Wikipedia 'the art of changing the tempo in the context of a musical performance'. To better flesh out this methodology, he has brought on board a slew of talented 'sessionaires' to join him in the quest. This latest release is a prime example of a highly gifted musician who just wants to have some fun, to paraphrase Cindi Lauper.

As befits a true instrumental showcase, the playing is absolutely first-rate, creative in a variety of styles, running the prog gamut of metal, neo, symphonic, jazz, eclectic and cross-over. I nevertheless needed multiple repeat listens to ooze into a comfort zone, as the initial auditions were focused on technique and execution rather than depth. As such, it does prove the mettle of prog-metal (pun), a genre that accentuates the power and the glory of rambunctious guitar phrasings as well as a booming propensity to combine Bonham-like explosions with Cobham-like velocity (aka the Bon to Cob syndrome! LOL). Double bass drumming at blitzkrieg speed is an aural experience to behold. I , as a rule, never liked the 'can you see how good I am' show-off style as espoused by otherwise brilliant musicians such as Stanley Clarke and Keith Emerson but here the focus is not just on chops but also on variety, humor and diversity.

On the opener, 'Bronto's Navel' the lads provide a bruising bass-led piece that combines King Crimson- like bravado, delightfully fluid guitar lines and deft drumming , the ending a straight lift of Owner of a Lonely Heart. This good natured homage continues on the masterful '11th Sense' a 12 minute retrospective of classic prog and non-prog lines, going from ELP, Van Halen, Genesis, Asia, AC/DC, Europe, and a few others'..which then just morphs into something entirely enthralling, synthesized hurricanes with blast of bass thunder and guitar lightning. The German word for fun is 'Spass', a perfect ride, as Schmitz has a little drum solo platform to amuse us and himself with.

The worldly beauty of 'Nomouglea' slithers into the mind with effortless vision, steered by Steve Unruh's seductive violin, amid idyllic acoustic guitar adornments that would make Ant Phillips smile. A thrilling flute also enhances the glorious mood, heightening a drop dead gorgeous melody that caresses the soul, before a wicked Dago Wilms guitar solo slams through the mist.

Change of pace with 'The Chasteness' , another swirly affair that bounces between robust and dreamy, Schmitz handling all the instruments save the lead guitar and the themes expressed are both inspiring and crafty, particularly a brief piano section that confirms the talent at hand. Wilms is a real gun slinger, fondling his guitar with brash abandon. Interesting combination of Genesis inspired instrumentation and a harder more metallic edge.

On the cool but too short 'Musicogenic Epilepsy' , Schmitz offers up a lovely duel between Michael Elzer's Chapman Stick and Pantelis Petrakakis' fluid bass guitar, low-end extravaganza of the highest order, ably decorated by some shining keys and drums. Great stuff, highly entertaining up to now but the best is yet to come, with the arrival of guest Andrew Marshall on Spanish guitar, he of Willowglass fame, ably assisted on electric axe by Arne Schafer of Apogee and Versus X repute. Gary Farmer handles the bass duties but it really is Andrew's show, as he does a truly lovely job, proof that Hackett does have students out there! 'Sheol' is the crowning piece here, a glowing affair of infinite beauty, the word itself being a Jewish term defining a place for the dead.

'Lick Me' is a return to the more extroverted instrumental jamming that Schmitz enjoys, heavy duty riff (a variation on 'Hey Bulldog' from the Beatles?) , essentially a duet with Dago handling the 6 and 4 strings while Hans-Jorg tackles the percussives and the ivories. Throw in some snippets of Aerosmith, Black Sabbath, Nirvana, that Hey Bulldog cream and My Sharona, and well, you can guess the rest. Fun driving music that you can lick!

Pantelis does his best Mick Karn imitation (both Greeks and one a Cypriot to boot) a wobbly resurrection of the fretless wonder on the reptilian 'the Venturous Dream of a Schlabbershirt' (whatever that means). A perfect segue into 'Thin as a Skin' , a parody/homage to Jethro Tull's classic and need I say, a stunning instrumental reworking of this prog classic which is worth hunting this down on its own merits. Schmitz credits Harold (the Barrel?), Gerald (obviously Bostock) and himself for having the inspiration to tackle this 22 minute behemoth. To his credit, this is not a note for note copy but a total deviation from the original with occasional slick winks and nods while remaining stylistically reverential. It's also heavier, brasher and more manic. Unruh does both flute and violin, giving this a mercurial velocity. A child-like xylophone and mellotron duet recalls Hackett's 'Shadow of the Hierophant' blow out. A fun-filled ride this is, unabashed playfulness and gentle reverence. The urgency and power are stimulating, the classic theme given a thorough massage, the rabid flute causing quite some damage. To dare tackle a Barriemore Barlow only proves that Schmitz can beat his drums with great skill.

Nice little solo outro to seal this deal.

I am truly impressed by the amazing sense of adventure and total lack of pomposity, a fun album I intend to revisit many times again. Thanks to Windhawk for sending me a copy, this was way better than I ever thought!

4 Regal Tempos

Two years after their debut Hans Joerg Schmitz'es King of Agogik return with a second album, ''Aleatorik system''.This time there's no Pantelis Petrakakis on bass, the instrument has been taken over by Schmitz himself.Instead he added Tobi Hampel to help him on guitars.

With this work Hans Joerg Schmitz prooves to be a competent multi-instrumentalist and composer, you will hardly ever think that drums is his main instrument.Just listen to his attempt on a 22-min. epic piece like ''The long March of the royal fifth'' and you'll be blown away by what this man came up.This is excellent and highly symphonic Neo Prog with some superb guitar and keyboard passages, including some Gregorian-like chants, atmospheric synths, grandiose bell sounds and dashes of Mellotron, lacking any vocal parts, but being extremely fluid at the very end, the lyrics would more propably ruin the final result, which is no less than solid, epic Prog Rock.The rest of the album is a mixture of harder moments, flirting more with Heavy Prog than symphonic attempts, and delicate Neo/Symphonic Prog.I would actually say that Schmitz'es drumming is the least favorable of all instruments in here, the musical perfection is all about his alternating elegant and punchy moves with some really cool keyboard and guitar deliveries.Imagine bits of PINK FLOYD, early IQ, KING CRIMSON and more Electronic/Symphonic bands like NETHERLAND DWARF or BACKYARDS to get a picture of the album.Of course there are a couple of weak moments in this quite long release, featuring rockier but rather dull moments, but fortunately some great symphonic arrangements with both bombastic and dreamy textures are waiting on the next corner.

Great, all instrumental stuff, you can feel that part of the intruments are rather programmed plus some nonsense jazzy and funky edges hurt its consistency, but the cool material is extremely solid, well-played and dynamic.Just listen to this man's talent on the long progressive efforts.Strongly recommended...3.5 stars.

KING OF AGOGIK is a project led by Hans Jörg Schmitz, who's primarily a drummer but plays also guitar, bass and keyboards. On this fifth album he's accompanied by guitarist Dago Wilms, bassist Gary Farmer, Erik Vaxjö on Mellotron, Steve Unruh on flute & violin and several other skillful musicians. The whole 77-minute album is instrumental, and exhaustingly full of ideas in a not-too- serious manner. One comparison is the multinational collective CORVUS STONE.

The opener 'Bronto's Navel' is muscular power rock. The first musical citation that I recognize comes at the seam of this track and the next one (a riff from 'Owner of a Lonely Heart'), and the 12- minute rollercoaster ride '11th Sense' is basically a potpourri of (mostly prog / hard rock related?) little allusions. Or so I presume, for I don't recognize all themes. The leaflet's page for the track says "for amusement only", and amusing it is. Schizoid perhaps, but so well done that it works. 'Nomouglea' is sheer beauty of both acoustically oriented, art music flavoured delicacy and more powerful melodic rock.

'The Chasteness', subtitled "Damsel's Love and King's Wrath", keeps shifting quite restlessly between romantic, adventurous and other moods. One thing is becoming clear by now: you don't get bored or sleepy with this album! Also for the sound it's very eclectic, there are polished Neo Prog, retro-sounding Symphonic, biting Hard Rock, gliding Fusion and delicate Art Music elements on this full buffet table. Andrew Marshall (WILLOWGLASS) guests on wonderful 'Sheol'. 'Lick Me' is an aggressive and slightly metallic rock piece, my least fave. The next track is an intelligent bass & drums study featuring Schmitz and Pantelis Petrakakis.

The nearly 23-minute 'Thin As a Skin' would almost on its own compete victoriously against an average prog release. This is full-blooded, complex prog rock to blow your mind. When Steve Unruh's flute joins in, a certain classic group may enter the listener's mind, but hold on... many other colourful sections to make MIKE OLDFIELD jealous follow each other, before quite exactly in the halfway it's revealed why it has such title: here and there come direct citations from JETHRO TULL's Thick As a Brick. Is this parody? I'd rather see it as an hommage, in addition of being totally impressive monumental prog epic.

On the brief closing track H. J. Schmitz plays all the instruments. Oh my, what an album. There are many moments that whisper "five stars" into my ears, but as it's likely that the WOW! factor wears thinner with repeated listenings, four stars will do. Listen to this and be amused & amazed!

German project KING OF AGOGIK is the creative vehicle of veteran drummer and composer Hans Jorg Schmitz. In between his job and various band and live duties he has issued four productions under this moniker since 2006. "From A to A" is his most recent album, and was released in 2011.

People with a profound interest in drums and rhythms will probably be a designated key audience for this latest production issued under the King of Agogik moniker, as the very nature of this album offers plenty of material to enjoy for that particular audience. Those who enjoy symphonic-oriented material, covering plenty of stylistic expressions, are another crowd that should find this disc to be compelling, especially if they tend to enjoy instrumental albums. If you fancy one or the other or both, "From A to A" is an elegant creation, made and performed with a great deal of finesse.