SECOND THOUGHTS

GOOD NEWS FOR THE SYMPHOMANIACS!

First Jacob Broers + Gerben Klazinga have delivered an awesome Vintage Keyboard Heaven sound on this new album: from brassy 'Keith Emerson Fanfare For The Common Man' synthesizer runs in Prelude, and lots of 'Tony Banks Mellotron choirs' to 'Rick Wakeman Minimoog' flights in Shame and Iconoclast, wow, what a thrill.

Then the guitar by the very talented Mark Bogert (known from his Magoria project and a tour with Arena): when he joined Knight Area he added an often metallish flavor, but here on Second Thoughts his sound is often more close to David Gilmour, Andy Latimer and Steve Rothery, from sensitive to howling. But also harder-edged like fat guitar riffs in Prelude and heavy work in the classical inspired Shame, exciting Delusional and catchy Forgotten, wow.

And "last but not least" the lead vocals, mainly sung by new Broers + Klazinga member Mark Smit (once Queen cover band Miracle), like 'other Mark' also ex-Knight Area. I remember his first performances with Knight Area, early 2004, he immediately impressed me but here on Second Thoughts he stuns me even more, what an excellent voice. The one moment tender in the mellow parts, the other moment powerful in the bombastic eruptions. Apart from Mark Smit the vocals are also delivered by Mark Bogert his wife Nadine: solo in the varied and dynamic track The Mirror, and duo vocals in the catchy Forgotten, what a wonderful and crystal clear but also wide ranged voice.

Now about the 11 often dynamic compositions on this new Broers + Klazinga album. Despite the obvious echoes from 76-77 Genesis, ELP, Fish Marillion and early Kayak the band is developing a trademark Broers + Klazinga sound: lots of tension between the mellow and mid-tempo songs and parts, with bombastic outbursts, loaded with Mellotron choirs and moving guitar runs, topped with Moog Taurus bass pedals and synthesizer flights, and backed by a fluent rhythm- section (all done by mister G. Klazinga, in Prelude he sounds like Cozy Powell). The 'wow' factor is frequent, especially in Wait For Sleep (Mark Bogert shines), No One Left To Blame, the epic highlight Delusional (top notch Dutch symphonic rock), The Test Of Time, Read Me and the final track Iconoclast (what a glorious synthesizer - and majestic Mellotron sound).

After their strong debut effort entitled Burdens of The Mind from 2021 this new Broers + Klazinga effort contains international quality, highly recommended, especially for symphomaniacs!

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

BROERS + KLAZINGA is a Dutch symphonic rock duo, expanded with a few additional musicians, which has existed since late 2014. Jacob BROERS is a pure keyboardist, while Gerben KLAZINGA (better known as the founder of KNIGHT AREA) is a multi-instrumentalist who adds all the other basic instruments to his keyboard arsenal.

They worked for five years before producing their first album, "Burdens of the Mind," which was completed in August 2020 but only released at the end of March 2021 due to the COVID pandemic. I listened to this first album to fully immerse myself in the music they composed, and it turns out to be noticeably inferior to the one we currently hear.

"Second Thoughts" is thus a sort of sequel, and we find on vocals the one who, for me, is one of the very best vocalists in the current progressive sphere, Mark SMIT (ex KNIGHT AREA), who also appeared on THE FOUNDATION's album at the end of 2023. As one might guess, we are here in the purest symphonic neo- progressive, a subgenre of progressive music that is easy to listen to. The Emersonian keyboard movement (listen to "Wait for Sleep" to convince yourself) or Wakemanian ("Shame") is more than present throughout the album.

The six-string guitar played by Mark BOGERT is not to be outdone, in a slightly metallic register (the final part of "Wait for Sleep" or "Forgotten" for example, the latter being the one I like the least on the entire album) or more often Rotheryian, therefore more flexible and loose. The welcome alternation of soft, mid-tempo passages and moments of heightened tension is the greatest quality of the Dutch duo's compositions.

This opus features some essential gems of the neo-progressive movement. First, "Delusional," a soft piano introduction like Mark Smit's vocals, a guitar solo that follows, before a piano reprise, Mark Bogert's guitar swirling in all directions, and an emotional symphonic crescendo of breathtaking beauty, to the point where you'd never want it to end?heavy, as today's "youngsters" say! "The Test of Time" follows in the same vein, with piano, soft and lyrical vocals, and drums at only 2:22. An ultra-Kayakian piece that stays in similar territory, a stunning six-string of immoderate lyricism, a real listening pleasure here too, five stars.

Let's also mention "Read Me," the penultimate piece in this very high-level work. It's a little more energetic than the two aforementioned tracks, but also has a high melodic content. The piano here is more hammered (a bit like the super tramp). Mark Smith is at the peak of his vocal powers, his range is phenomenal in every way. He could give singing lessons to many... I'm not aiming at anyone! Some will recognize themselves, others will modestly lower their gaze. For the record, the concluding track, "Iconoclast," is of the same level as the ones I've just dissected...

This "Second Thoughts" already claims an enviable place in the year-end charts, although it's only February; as far as I'm concerned, I'll have to be strong to dislodge it.

Composed of Jacob Broers and Gerben Klazinga, founders of Knight Area, for good symphonic-classical neo-prog.

"Prelude - Sons of Gods" opens with a solemn Olympian sound, with trumpet and bells worthy of Waalsdorpervlakte; the devastating riff then a Brazilian samba feel. "Wait for Sleep" layers of velvety keyboards serving as an introduction; the guitar on ARENA melts the atmosphere; Mark, solemn on vocals, pours out a captivating symphonic rhyme; the uncompromising prog, easy to access with the killer melody. The MARILLION break for this warm guitar solo, the tone between softness and progressive soaring, the organ frolicking through its scales. "Countess Grief" is a bucolic rhyme, YES for the vocals, GENESIS for the flute, PENDRAGON for the acoustic guitar and keyboard. "The Mirror": Nadine's captivating vocals, an uptempo ballad with its guitar and synth solos; a captivating catchy chorus filled with delightful melancholy; superb vocal alternation. "Forgotten" is prog metal with the duet vocals; a plus that adds up, going from this shared track to the velvety break of fat, spatial, and swirling synth layers. A purely progressive track with this instrumental moment. "No One Left to Blame" is a sovereign piece, slow, plaintive tempo, melting melancholy. The guitar solo throws itself into this languid slow song; emotional notes to melt the prog.

"Delusional" is a romantic epic with captivating vocals; the keyboard part harks back to the mysterious sound of MILLENIUM for the sovereign air; the track evolves, moving into playful prog metal with Mark again on lead guitar, providing depth and passion, where the synths recall GENESIS for the Mellotron. A beautiful crescendo dripping from the sharp guitar. "The Test of Time," reminiscent of STYX; a slow, atmospheric rise filled with the symphonic sounds of GENESIS, ARENA, and MARILLION for the remarkable guitar solo. Another solemn track, boosted by the second solo, magnifying the divine air of the Mellotron. "Shame," with its zany neoclassical intro worthy of "A Clockwork Orange," a playful romantic-medieval aria, sharp notes from Monteverdi's cantata, bringing a solemn emphasis. "Read Me," a languid piece, a beautiful nursery rhyme with unstoppable vocals coupled with a bewitching melody, a slap in the face for this solo that never ends. "Iconoclast," a melodic suite featuring enlightened vocals, fluffy, Olympian keyboards, and a touching, melancholic guitar. A long finale with an explosive keyboard. Broers + Klazinga releases the opus smelling of the 80s with Genesis keyboards and KNIGHT AREA. Originally on progcensor. (4.5)

I usually wouldn't take the time to write bad reviews but I feel compelled to here. Track 7 describes accurately my humble opinion of those that have gushed about this album so far.

The album is built around overly simplistic synth passages which can mostly be played with a single finger, and a rinse- and-repeat composition where every track is an attempt at building an atmosphere around a basic ballad and including one of the aforementioned synth passages and a final bit of Floydian (in style but not in likeability) guitar. The worst part is the lyrics. I commend anyone willing to have a go at writing lyrics not in their native tongue, but it often results in an incredibly simplistic and often not scanning result - no different to me attempting to write an intricate and passionate love song with my C in GSCE German and the help of google translate. At times the lyricism makes you physically cringe - see The Mirror for one of the most sickening ballads I've ever heard.

The end result is an incredibly derivative attempt at a neo-prog rock opera. Even for fans of neo-prog, 80s synth, or the symphonic pomp, there are dozens and dozens of far better modern efforts out there.