RELATIONS

Second album for these Dutch veterans, looking forward to another great opus as the debut "Mask" was quite the revelation , garnering high marks from both fans and critics alike. Led by keyboardist and radio DJ Ron Lammers, whose inner circle connections certainly help in getting on board names from famed bands like Cliffhanger, Novox, King Eider, Sylvium, Ulysses, Odyssice, Broers/Klazinga and Knight Area , namely Mark Smit, one of the top prog vocalist in the Netherlands as well as remarkable guitarist Rinie Huigen and bass playing maestro Gijs Koopman. Completing the crew , we have Jens van der Valk (guitars), Masaki Shimakawa (violin), Judith van der Valk (flute) and drummer Jan Grijpstra .

Unabashedly grounded in the symphonic /neo-prog style, Ron guides his impressive keyboard skills throughout the compositions, initiating the mood perfectly on the opener "Alpha", where all the participants get to involve themselves without any hesitation. Richly blanketed in massive swirls of mellotron, the influence clearly in the Tony Banks school of dynamics, Smit gets to handle the story with his usual mastery, flute adornments not far away, the guitars weaving a discreet sonic fabric that sets up the fabulous instrumental break, initiated by Koopman's pugnacious bass delivery. Straight out of the Wind and Wuthering style, the smooth as silk symphonics are delightfully alluring. We are in familiar territory, and we like it!

Down time on the flute, as a pastoral scene of a stream flowing gently enters the mind, the electric guitars performing in unison, a rumbling bass winking at them in agreement, and a steady, cymbal splashing beat forging the pace. "Beauty of Nature" could not have had a better title, as the plethora of combined notes shine like a multi- faceted diamond facing the sun. A stunning instrumental concoction, not far from Steve Hackett-land. To segue into an acoustic, almost medieval intro on "Backbone" proves beyond any doubt, that mastering the progressive rock flow is an art in itself. The elegant violin has a searing beauty that shimmers long enough for the lead guitar to take over and shoot for the stars. Smit's gentle voice warms the heart as it seeks reflection on times gone by, held together by a convincing main melody that never lets go. The build-up to the majestic chorus comes as no surprise, expected and revered for its generosity and humbleness, the flute providing the smooth skin to the flesh, the spine now fully garnished. The soaring lead outro with mellotron is divine.

Smit sings fluently in French on the "Ses Lunettes Noires" (Her Dark Glasses), welcoming a new twist in the proceedings, showcasing Lammers' piano work and some heavy romanticism straight out of the classic 'chanson francaise' style. Boundaries are flung way wide, encompassing a broader appeal, yet still weaponized by a series of stunning guitar solos that screech pain like only love can. A very daring move that rewards in spades. After such an oblique chess strategy, "Intense" comes across as the most straightforward piece here, a tortuous guitar foray leading the charge with dense keyboard carpeting to ensure the good equilibrium of the 'foundation', the rhythm section pulsating with glee, and the ideal set-up for another performance from the talented vocalist.

The epic "Rubberband" and its 10 minute+ expanse keeps the flow in check , like all the dams in the country, whipping up a deliberate frenzy of sound, the intervening musicians working as one, as if emulating total football. The well-crafted arrangement naturally traverses a variety of alterations, such as the sublime flute, acoustic guitar and mellotron passage that is to succumb over, whilst maintaining a stellar focus (the Dutch master are never faraway) on the melodic content, a lengthy instrumental preparation built to deliver the platform for the main vocal section, where Smit gets to shine once again. The precision of his tone is admirable, a glittering example of climbing the ladder in emotional involvement, taking us all to a higher plateau. The instrumental background is perfectly in tune with the mood. A terrific piece of music.

A consummate ballad is called for , as "Life" is ultimately what relations are all about, as there is no existence in solitude. Maintenance of the solemnity is paramount, and the pace is kept respectful and endearing. The glittering dual acoustic guitars finally succumb to an outgoing voiced theory. Dutch lace.

Finishing off the album is the second longest track, just a hair under the 10-minute mark "Omega" and sits well within the classic neo-prog tradition, emitting a robust Pendragon/Knight Area/IQ texture. It's heavy on the vocal side, as Smit is giving time and space to tell his tale, The final segment exploding into an electric eruption of stringed splendor, as fretboards and keyboards combine to shatter the mold, as the wind affords a final wuthering.

Definitely and enjoyable escapade that will reward with many more spins, a third album would be most welcome. 4.5 basic instincts

Before I get to talking about the band or the music, I must call out the amount of effort which has gone into the booklet which accompanies the CD. It is 28 pages long, full of glorious photos as well as the lyrics and who played what on each track, and is a piece of art all in itself. Anyway, back to The Foundation, which keyboard player Ron Lammers brought back to life in 2020. The original trio from the Nineties is long gone, and again Ron has surrounded himself with many well-known Dutch progressive musicians, most of whom were involved with 2023's 'Mask'. It is interesting to note that while there is very much a group sound, there are multiple writers and lyricists within the band and each song is credited accordingly, yet the move between the songs is seamless.

Ron describes this as a thematic album as opposed to concept, about relationships from us as a human to all kinds of partners and environments. It is a very Seventies feeling release, laid back and reflective, rarely in your face, as if the more guitar heavy neo prog and prog metal had never taken place, with reflection often at play with layers of keyboards providing the backdrop, the bass providing a counter melody with guitars providing nuances here and there and the drums never relaxing. In many ways it feels like a Steve Hackett release with some Camel nuances here and there. There are some very pastoral elements at play, but there are also times when the guitars have plenty of edge, being pushed to the fore by the keyboards, while both flute and violin are used sparingly and make a real impact when they come in.

It would be very easy for an album such as this to meander, but there is just enough bite here to keep it pushing along with direction, even when that direction is rather circuitous and may not easily be apparent. For the most part this is a light and refreshing release which progheads would do well to discover.