APOGEE

Over the years I have found Arne Schäfer (lead & backing vocals, electric & acoustic guitars, keyboards, bass, orchestrations) and Eberhard Graef (drums & percussion) to be a little hit and miss with some albums worth investigating, others somewhat in the middle, and others definitely ones to avoid. However, I did really enjoy the last two, so I had high hopes of this one, only to feel somewhat let down. Although they are rightly deemed to be crossover on PA, they have always had a high amount of neo in their style and have been seen as being somewhat at the forefront of the 90's revival in their native Germany. I think the best word to describe this album is "bland", as while there is nothing awfully dramatically wrong with it there is also little here to get excited about.

I found I kept thinking of one of Clive Nolan's many projects he used to undertake, with somewhat of a theatrical bent, but not delivered in anything like the same degree. Even when Arne has the guitar wailing and the drums are driving forward as on opener "No-one But Ourselves", it just feels somewhat staid and almost formulaic. Four of the six songs on this set are more than ten minutes in length, something any proghead will gladly sink their teeth into, yet they meander without direction or emotion, leaving the listener unsatisfied yet bloated at the same time. Let us hope this is just a one-off and the next one finds them with more bite and verve, but this just feels there is not enough clarity and space and the arrangements have been layered in the hope that something will come out of it, but it didn't.

the German neo prog school is prolific, to the point of launching groups which will evolve over time Example with Versus X which offered typical Genesis sound, King Crimson and Yes incorporating its imprint. Apogee, which emerged like a chrysalis, tried to propose a fusion between the neo prog of the 80s and the vintage sound of the 70s where the dino is especially eyeing that of Gentle Giant, a great idea in perspective.

This album with Arne Schäfer and Eberhard Graef at the helm uses all the progressive, pompous, bombastic and melodic archetypes to bring us into the timeless prog universe; a bit of Supertramp, Barclay James Harvest for the dated sound and vintage Scandinavian groups who use various organs to make us regress even more. A bluesy-soft atmosphere, a riff that we would see on a Floydian prog metal, on a Deep Purple for the 'Emotional Feedback', yes I forgot there is Pink blood here, so RPWL too on top of that of Genesis for the divine flute which comes to add its grain of note; pop rock from the end of the 60s...they succeeded by releasing long tracks, 4 of more than 10 minutes including the last 'The Turning Point' with this famous tune from another group; I'll let you guess which one An album that smells of sweaty vintage and can be listened to very easily.(3.5)

I have not been the biggest fan of Arne Schäfer (lead & backing vocals, electric & acoustic guitars, keyboards, bass, orchestrations) and Eberhard Graef (drums & percussion) over the years, but their 2018 album 'Conspiracy of Fools' definitely showed movement in the right direction and then I surprised myself by really enjoying 2020's 'Endurance of the Obsolete' but must confess I did not expect a great deal from their 2021 release. However, I always listen to music with an open mind and was again intrigued to see they have kept on the same path and their 2021 album yet again contains much which is worth hearing.

As with the last release, this is much more firmly in the realms of 90's neo prog, although with melodic crossover tendencies as well. This time around we have five lengthy numbers, all in excess of ten minutes, with three longer than fifteen, but the music never drags and there are enough twists and turns within to keep the progger very engaged indeed. There is a nice use of acoustic guitars at times, while Arne also utilises some nicely dated keyboard sounds to provide plenty of variety. Historically I was not a huge fan of his vocals, but these have improved dramatically and he comes across well, with plenty of emotion and breadth so even though there is not a tremendous amount of depth to the music it is always interesting. The addition of a real drummer and musical partner has had a major impact on Arne and his music and long may it continue. This is prog which is very melodic and easy to listen to on the first play, and while it is not overtly complex it is certainly enjoyable.

Multi-instrumentalist Arne Schäfer is back with his tenth album under the Apogee name and has been joined again by drummer Eberhard Graef. It is safe to say that I have not been the greatest fan of his releases to date, which go back some 25 years, but did think his previous album, 2018's 'Conspiracy of Fools" was his best to date, and here I find myself saying exactly the same thing again. Historically I have not been the biggest fan of his vocals, but now we have much improved singing with the music arranged in such a way as to play to his strengths and minimise the weaknesses. It is the arrangements that really make the album stand out, with strong use of acoustic guitar, some nice, dated keyboards, and electric guitar leads which are quite reminiscent of Jadis and Pendragon.

Apogee are generally classified as crossover prog, but this album sees them also move firmly strongly into neo prog. Given my previous concerns over his vocals I am surprised to hear a layered a capella section in opener "Interpretations", and the use of xylophone during that number also gives it a much stronger feel. The digipak contains all the lyrics in a booklet, and although I must confess, I was not really looking forward to playing this album, I was really surprised at just how good it is. I may not have have recommended Apogee in the past, but this album sees a step change in the music, which means that now really is the right time to investigate the band who are mixing together some commercial and interesting progressive styles to produce an album which is immediately enjoyable.

So. Another one-man band. Well, I must say that I usually have issues toward one-man bands. Generally speaking, the singing is is OK (sometimes bad), the guitar is OK, the bass is OK, the keys are OK and the drum is OK. No virtuosity expected. The new Apogee album, Endurance of the Obsolete, checks in all categories. But, as a whole, does it make Endurance of the Obsolete an "OK" album ? A little more than that I must say, much to my surprise. Arne Schäfer, the man behind Apogee (and behind Versus X) manages to give us very nice melodies. The 6 songs of the album (3 of them are more than 12 minutes long, which I like) are anything but complex nevertheless structurally well balanced and pleasant to the ear. The opening song song, "Interpretations", is particularly interesting with its three-parts canon (à la Haken's Cockroach King) and its fine cello, harpsichord and vibraphone harmonies. Overruled, a 16-minute epic, is a good example of a perfectly well written and composed composed piece of progressive music. This is Apogee's tenth album and it was about time for me to discover Schäfer's work. Endurance of the Obsolete is, despite its minor flaws, a very interesting album that will surely force me to make up for lost time and listen to Apogee's old stuff. Well deserved 4 out of 5 stars here (could have been 4,5 with a guest singer !).

I must say that this album gave me a nice surprise, since one can find here a lot of tasteful and intricate vocal conterpoint in the loving style of Gentle Giant, but without incurring in a plain copy or pastiche. There's also, along with the recognizable pattern of voices and acoustic guitars, some original flavor in melodies and arrangements, as well as clever and skilful song writing, and that makes this new listen worth. I can point out a resemblance to dutch prog rockers Focus too, for example in the keyboards fanfare and vocal chorus of the opening track ("Interpretations"). But that one, and the other influences, are organically integrated in the music that runs fluid following its own path, and conforming an original and solid idea

German project APOGEE have been releasing material at a steady pace for the past 25 years or so, a venture that started out and still is the creative vehicle of composer and musician Arne Schäfer, but now with drummer Eberhard Graef appearing to be a permanent member as well. "Endurance of the Obsolete" is the tenth album to be issued under the Apogee moniker, and was released by German label Progressive Promotion Records in the summer of 2020.

Apogee as of 2020 strikes me as a band that should have a fairly good appeal among progressive rock fans. "Endurance of the Obsolete" is an album in need of fans that enjoy epic length compositions with enough twists and turns to merit the description challenging, as well as those who do not see the need for such creations to be within or in touch with the symphonic landscapes of the progressive rock universe at all times. In my view this is probably the most accomplished creation form this venture I have come across so far, and a strong album overall.

Arne Schäfer is back with his ninth album under the Apogee moniker, and again he has been joined by drummer Eberhard Graef while he provides all other instruments and vocals. I was incredibly harsh on his last release, 2015's 'The Art of Mind', as I really didn't like it at all and must confess that I wasn't looking forward to playing this one as a result. But, actually this isn't nearly as bad. Although the vocals are still an issue for me, the songs themselves work much better. We have six songs, of which five are in excess of ten minutes long, with one shorter acoustic number. It certainly doesn't feel like one musician plus drummer, as it really does have a band feel and there is good interplay. Graef makes a real difference here, and the album has far more impact than if Schäfer had undertaken it all himself, as he adds plenty of nuances and touches throughout.

The almost spoken vocals just don't work for a whole album, but musically there is some fairly strong neo prog going on, and while not essential there are times when it actually becomes reasonably enjoyable. There is some strong guitar, and it is when he channelling Camel that this album works best. But, until Schäfer brings in a stronger vocalist I can't see Apogee moving to the next level, although it is certainly better than what has gone before.

This album was released by the Italian label Mellow Records in 2006 - not in 2000. "On the Aftertaste" is the fourth official CD release by Apogee, though this is actually the project's very first studio album . It consists of the tracks Arne Schafer composed and recorded from 1989 to 1991 (i.e. quite long before the appearance of "The Border of Awareness"), none of them were available previously, of course. Musically, there is a lot in common between "On the Aftertaste" and most, if not all, of the other albums that Arne released under the Apogee moniker. The only exception would probably be "Die Glaserne Wand & Schleifen". Recorded in 1988, this collaborative effort between Arne and singer/lyricist Gerald Heimann is much more classically influenced than any of Schaefer's subsequent releases.

Apogee is a side project of Versus X singer, guitarist and composer, Arne Schafer, and here he provides everything except for drums, which are provided by Eberhard Graef. According to the press release this 2015 album revives the typical characteristics of the golden age of prog, and references Jethro Tull, Yes, Genesis, Gentle Giant, Rush, Zappa and UK. Hmm, I guess that means that the album I'm listening to isn't this one at all, as this is the type of album that gives prog a bad name. Normally, when I come across an album where the opening song is twenty minutes long, and the others are all eight minutes plus then I am singing the praises right off the bat. Here, not so much.

There are bits here and there that are quite pleasant, but just when I think it's just me there is another dire passage, or melody switch that doesn't make sense. It is almost as if he has taken those classic bands and has tried to pull together bits and pieces into a coherent whole, but if he was given a jigsaw puzzle there are pieces missing and he's lost the picture he is supposed to be recreating. I find it incredible that this is his eighth album, as in many this is reminiscent of so many tapes I was being sent more than twenty-five years ago, although in fairness the production is a lot better (and easily the best part). My last review of an Apogee album had me feeling rather the same way, that this is likely never to darken my player again.