The storied Dutch neo-prog band Knight Area surprised the Prog community with a few stellar opening releases, namely the debut The Sun Also Rises (2004), Under A New Sign (2007) and Realm of Shadows (2009), then hardening their sound on the subsequent albums Nine Paths (2011), Hyperdrive (2014) and Heaven & Beyond (2017). The latest D-Day issues related a concept them over two albums and seemed to revert back on course. Knight Area founder and multi-instrumentalist Gerben Klazinga surely noticed the lower ratings and veered into a side project with keyboardist Jacob Broers, where the symphonic nature would be reignited, while at the same time keeping stalwart Knight area alumni Mark Smit (a tremendous vocal talent) as well as famed guitarist Mark Bogert, who can also provide a more subtle style to his rocking ways. Burdens of the Mind in 2021 rattled the cages with rave reviews, only emboldening the duo to continue with this sophomore masterpiece, that may transcend even those early Knight Area albums.
The church bell tolls on the bombastic into “Prelude-Sons of Gods”, whipping up quite a frenzy with booming orchestral drums and grizzly guitar riffs that set the mood from the get-go. Any second thoughts or hesitations are wiped away on the melodic and moody “Wait for Sleep”, as the dual keyboard put into motion a wide variety of interlacing frills, the electric guitar slaloming through the gates, the synthesizers blazing into the night, the mellotron distant and respectful, as Mark Smit shows off his marvelous voice. Immediate goosebumps, as the hushed and then forlorn chorus insists on splendor and melancholy. When Bogert peels off a sizzling six-string tirade, the effect is devastating, especially when a broiling organ hands over the baton to a dazzling synth solo, keeping the arrangement vibrantly attractive and the musicality intense. Goodnight, sleep tight!
The compact ballad “Countess Grief” relies on charm and redolence, almost pastoral in effect, Smit can emote with murmuring gentility, orchestral keys carrying the load, an oboe-synth patch keeping the mood eloquent. Lovely little ditty that soothes the soul. Mark Bogert’s wife Nadine introduces the voluptuous melody on “The Mirror” elegant piano in tow, her voice not far from Olivia Sparnenn, Heather Findlay and any from the long list of outstanding Brit prog female singers. Her control is stunning, veering from soft to somersault, just like the twirling synths reflecting their glare in the foundation below, hitting the high note finale with precision. Revving up the engine is one thing but inserting a wickedly memorable melody on the expressive “Forgotten”, as it is fueled by male and female vocals that intertwine perfectly and supported by a tortuous axe solo that glitters like gold. The extended instrumental mid-section is ominous and flickering the candle of long buried memories, the electronic keys insistent and resolute to the core. The finale features the vocal duet aiming for the prize with a reprise of the immaculate chorus.
The hymn “No One Left to Blame” peers through the fog of time, an atmospheric lament that keeps the focus on the gorgeous theme, a yearning and sorrowful guitar echoing in the corner of one’s mind, both close and far away, a majestic piece of reflection on guilt and faith.
“Delusional” clocks in over 10 minutes+ and is perhaps rightly considered as the core centerpiece of this impetuous album, a symphonic arrangement that gives both Broers and Klazinga the opportunity to lay down some impressive keyboard weavings, and Smit emoting supremely on the microphone with an added flair that impresses even the most jaded listener. A fiery burst from Bogert’s fretboard complements the frazzled state of mind, not being able to differentiate right from wrong, and suffering its consequences. The instrumental work is remarkable, all hands-on deck for this one, with Bogert departing on quite a vivid guitar journey as the keyboards supplement the thrills. A brilliant epic track.
To follow this mammoth selection with the equally impressive “The Test of Time” is a feat in itself, as the impulse to dazzle is maintained with a contrasting serenity, once again a romantic piano and powerful vocal awareness setting the suggestive mood. As with all the tracks on this effort, the melodic exploration is paramount, at times even intoxicating emotionally, a feature that seemed to have vanished from those mid-period Knight Area recordings. Bogert lays down a straightforward guitar line that suddenly explodes into a glorious grandeur, a few steps from Hackett-like splendor, bellowing mellotrons and effusive synths in tow. A second run through seals the deal, a crowning achievement.
The keyboard arsenal shapes the eternally moving “Shame”, a platform for performing a wide variety of ivory keys, where roiling organ, Mini-Moog flights and subdued mellotron backing rule the composition.
Somber orchestrations greet the listener on “Read Me”, a drained keyboard gloom envelops the speakers, as a depressed Smit expresses his pain. The clanging guitar flickers underline the mellow reflection, veering into reigniting the exquisite melody to perfection, even more sublime with the symphonics in support. A faultless companion piece to “The Test of Time”, I will not apologize for being a fan of such intense beauty, it carves the soul while soothing it at the same time, I could die and go to heaven hearing this again.
We have reached the final piece, and will it be conclusive, you may wonder? Well, “Iconoclast” is the epitome of conclusion to a perfect symphonic neo-prog album of the highest order, a musical demonstration that encompasses all of the tracks above into one solitary and final tour de force, a composition where every note and every sound curries favor with any ear and any connected mind. The clever approach in which the pace escalates gradually to celestial heights is another indication of just how genial this opus is.
The easiest 5 stars ever, convincingly flirting with perfection, a memorable collection of songs that will stand the test of time. For those who believe that tags are important, this may sway your opinion for evermore.
5 subsequent meditations
