MASK

Not to be confused with an older one-shot wonder from Sweden also named The Foundation, this Dutch crew is an all star cast of the highest order, as keyboardist Ron Lammers has assembled the incredible vocalist Mark Smit of Knight Area, Rinie Huigen on electric guitars (Cliffhanger, King Eider, Novox, Knight Area), bassist extraordinaire Gijs Koopman (Cliffhanger, Novox, Sylvium, Odyssice, Knight Area), together with a few solid guest musicians. At first, I was taken by surprise as the first two spins were not done under optimal conditions (being distracted by working or driving) and I really needed to give this work its due diligence, so I settled in for a concentrated audition, which rapidly sent this into the stratosphere.

As befits a proper progressive rock opus, "Before the Dawn" instills a warm overture of orchestral and electronic symphonics, as the velvet curtain is raised on what promises to be an exhilarating ride. The drama is heightened by the seductive guitar phrasing of Jens Van der Valk, as the interest takes on hold on the senses. A baby's cries can be grating but their laughter is quite to the contrary, as it's added to the following track, appropriately titled "Birth", where Huigen gets to unleash his fretboard magic. The solo is carefully elegant, highly effusive, overpoweringly joyous and an outright thrill, as Lammers keys set the 'foundation' while the bass and drums puts the newborn on its feet. When Mark Smit seizes the microphone and extols the virtue of 'time to start the show', the spirit of " Climbing Mountains" is articulated by the repetitive 'higher', Koopman's Rickenbaker bass doing its famed rumble as the drums escalate to another level. As with every ascension, the need to rest and admire the surroundings is formulated with a lovely flute and then a violin. A raunchy guitar rant and another vocal ledge before one reaches the top. Catchy and highly (sic) enjoyable. "Blind to Reality" showcases Smit's consistently clear voice, surely one of the finer vocalist in Progland, as he can hit the higher notes with apparent ease, as well as convincingly. The melancholic feel is furthered by some spine tingling dual electric guitar ravings, swirling keyboards, and monstrous rhythmic support. Dense and frightening as impaired vision may be, the arrangement pays service to the fear. This is clearly demonstrated on the companion piece "Despair", a most turbulent affair, where colliding, collapsing and threatening columns of sound seem to impair one's balance and sure-footedness.

And then we get to the masterpiece epic the 12 minute+ title track, easily among the finest among the many great long songs of 2023, and worth the price of admission on its own. A grandiose structure, a striking main theme, solidly supported by a gorgeous electric guitar outline, setting the stage for a celebrated vocal performance by Smit ('who looks into the mirror of your heart'). Now I admit wholeheartedly being a sucker for the romantic, neo- classical, and typical symphonic prog ballad but this track has a subtle 'Firth of Fifth' in it (quite the compliment in my eyes) as the synthesizer solo is worthy of Banks and the various guitar bursts that reek of Hackett's tendency to sustain the atmosphere are exemplary. But it's the earnest voice that does the slaying part for me, pushing me gently to my knees in overt admiration. The serene outro is devastating in its beauty. I could listen to this on repeat ad infinitum. Trying to follow such a colossus is no small feat, as "Renewal" chooses an ornate piano to soothe the senses, soon to be united with a glittering guitar passage, a shimmering violin flurry and glimmering flute decoration, adding synthesized adornments as well as a hopeful vocal plea that bares its soul. Unbelievably audacious, revitalizing and utterly perfect mood swing, as Huigen rips off another blistering solo, Lammers fluttering keys adding to the joyous journey.

Unsurprisingly, "Unconditional" comes across as the most accessible, 'sing-along if you want' tune, brief, catchy and hummable, a perfect radio-friendly prog piece that is both wholesome and enjoyable. An ideal steppingstone to the finale, the calling/carrying lilt of "Future", where keyboards get to shine brightly, wholly allied with a steady rhythmic pulse, and some colourful guitar excursions. The vocals are upbeat, yet cautious, somewhat reflecting the current global angst that was severely heightened by the pandemic, with a title like the Mask, perhaps its an ode to finally having the ability to take that ugly veil off, though probably not throwing it away yet, as uncertainty remains and 'confusion will be our epitaph'.

A highly recommended suggestion, with ace musicianship, stunning vocals and great melodies, certainly well- placed among the top contenders for top 2023 prog albums. This is a project that begs to be continued and offer us more future thrills.

4.5 substantial cloaks

The Foundation is the project of Ron Lammers who began to write some prog rock music in the late 90's but the project was put on hold until 2020 when he bought a proper keyboard. "Mask" is a concept album based on an autobiographical story. It's a chronological representation of human life. It starts innocently when we are born.

The music is heavily influenced by Neo-Prog bands and also some bands of the 70's like Pink Floyd on the opener "Before the Dawn". "Birth" has a Camel influence on the guitar work. "Climbing Mountains" shows some nice vocal harmonies. The production is crystal clear with each instrument nicely mixed including flute and some nice bass lines from Gijs Koopman of the band Cliffhanger. I guess he is still using the same bass and the Taurus pedal to sustain the tone. The music is melodic symphonic prog with plenty of instrumental sections. You can hear many influences from the Neo-Prog bands; Kaos Moon, Pallas for example. It's rarely on the heavy side except in some passages in the song "Blind to Reality" and in the first part of the song "Despair" with a metal style. The keys have their moments, especially in the title track and the last track "Future". We can hear in the quality and the excellent production of this album that it can only come from someone with experience in the record business. Recommended!

Apparently, keyboard player Ron Lammers started The Foundation as a trio back in the Nineties but nothing came of it and it is only in recent years that he decided to revisit the idea, bringing in some very well-known Dutch musicians to assist. The core of the band are Mark Smit (vocals, Knight Area), Rinie Huigen (guitars, Cliffhanger, King Eider, Novox, Knight Area), Jens van der Valk (electric guitar, Autumn, Cantara, Enraged), Gijs Koopman (bass, Taurus pedals, keyboards, Cliffhanger, Novox, Sylvium, Odyssice, Knight Area) and Jan Grijpstra (drums, Autumn). Additional players also include keyboard player Jan Munnik (Autumn) and guitarist Aad Bannink (Sentinel) plus flautist Judith van der Valk and violinist Sjoerd Bearda. Not only are they all seasoned musicians but they are also used to playing together in other outfits, and that experience shows through in this album which does not appear as if it is a fragmented project but instead is a band who have been working together for some time.

The album is a simple concept in that it is a chronological representation of human life which commences nicely and gently with some keyboards and then develops into something more complex and raw. It is very easy in life to wear a mask, and sometimes this can mean hiding your true being not only from others but to yourself as well, and it is only by removing the mask and fully understanding ourselves that we can begin to live our lives to their truest potential. Although there are symphonic influences here and there, with Camel coming to the fore in "Birth", we soon move into polished neo prog which brings together Dutch and American influences. Smit is a fine singer, but attention is drawn mostly to the songs and arrangements, as the use of multiple guitars has assisted in creating something which is complex and incredibly layered with complicated threads being drawn, with the keyboards providing the platform for them all to be brought together in a rich tapestry.

The more the album is played the more the listener gets out of it, and with the title cut more than twelve minutes in length we have music which has room to develop and breathe. Interestingly this is not an over-long album at just under 50 minutes, and to my mind is all the better for that. This is direct with no tasteless and meaningless meanderings and we can only hope this is the beginning of a proper band as opposed to a project as I look forward to the next album with interest.