KNIGHT AREA

Back to "The Sun Also Rises", Knight Area's debut, when they were still operating as a project. Gerben is responsible for all the lush keyboard parts that splashes out on this neo-prog album, he also played the drums on a couple of songs. He also writes the music and, together with his brother, and on top of that, he also produced and mixed the album. Joop co-wrote the lyrics and plays the flute on two songs. In addition, a good number of guest musicians were called in to do their trick.

It is typical that the group, despite Gerben's enormous keyboard input, still has the unmistakable allure of a band. For starters, there's the basics. The wonderfully melodic and throbbing playing of Gijs Koopman on his Rickenbaker bass guitar together with the adequate drumming of Gerben himself and Mark van Nieuwenhuizen always gives the music the right dynamics. The guitar interpretations (and certainly those of Peter van Heijningen who performs all of the lead) have a perfect framework, in which it's clearly noticeable that van Heijningen's guitar harmonizes beautifully with the keyboards. No matter how cool the music is, with a mediocre singer all efforts would have been in vain. Fortunately, it is a match made in heaven: Mark Smit can color this neo-prog vocally with his expressive, somewhat endearing voice.

Everyone is so well focused, wonderful things are happening.

After the short bombastic opener Beyond, nine songs pass by with the power of a stream of lava. It's impossible to review only a few tracks, the music is constantly noteworthy and to stick to the lava metaphor: rarely was being buried so welcoming.

After the cinematic intro of the mini-epic The Gate Of Eternity, the album actually really starts. You'll get completely blown away in less than seven minutes. We successively hear plaintive vocals, a melodic guitar with full keyboard playing, Kayak-like accordion stuff and metal that is interrupted by a guitar solo and beautiful flute playing. Particularly the latter change of atmosphere makes this good CD a truly fantastic one.

Conspiracy and Forever Now are strong Knight Area songs in which Gerben immortalizes himself as a neo-prog keyboardist. The melodic, catchy vocal lines of Conspiracy, but also those of Conviction, are the anchor points of the album as far as I'm concerned.

The instrumental title track The Sun Also Rises is equally strong, Gerben manages to make the lava boil quite a bit. If you think there are no volcanoes in Boskoop (place of birth of both brothers), you are completely wrong, it is a great eruption in the vein of Clive Nolan. However, most awe-inspiring is the song Mortal Brow. There is a pleasant alternation between Mark Smit and guest singer Stephanie Lagrande, the mellotron chords are reminiscent of Marillion's Grendel and the finale is unparalleled. After Mood Inspiring Clouds and A New Day At Last, where the flute once again makes a difference, Knight Area ends the album with the instrumental Saevis Tranquillis In Undis. It was no surprise that Knight Area has significantly forged ahead following this album. Unavoidably, after a debut like this. A year later they already found themselves on stage at the prestigious NEARfest in Bethlehem, Pennsylvania (USA). What do you mean 'they've got it made'?

Originally posted on www.progenrock.com

Knight Area does its thing on this album in just 40 minutes and 33 seconds. That seems short, it's the perfect length that hits the nail on the head in just about every second. There are nine tracks, seven regular ones, an acoustic version of Freedom For Everyone and a bonus track with a compilation of the orchestral arrangements that can be heard on both this and the previous "D-Day" album.

Knight Area does not take half-measures and opens strongly with the fantastic The Enemy Within. This mid-tempo progmetal song is a composition by Gerben Klazinga, which is clearly audible. Regularly sections pop up that refer to the old Knight Area sound, especially the prominent keyboard escapades. Furthermore, there is a lot of shredding guitar work from Mark Bogert, occasionally he comes up with heavenly moves.

Bogert's playing leaves his mark on the music, regardless of the type of song. For example, Peace Of Mind is a piano- driven power ballad that erupts time and time again. As a result, some sort of industrial wrath is released. A canned reverb voice serves as an alter ego, a smart move. On the other hand, I Believe is entitled to being called 'heaviest track on the album', in spite of the lovely orchestral intro. An absolute starring role is reserved for singer Jan Willem Ketelaers. It's all great: what he sings, how he sings it, the lyrics, his timbre, just about everything.

For Those Who Fell is a passionate instrumental track featuring melodic lead guitar. The underlying drumrolls by Pieter van Hoorn are stunning, they enhance the mood. In my humble opinion, it's a song that every prog band should be proud of.

Then Knight Area presents three songs that are all right on the dot. The Dream is a compact piece of robust heavy metal with some stirring chords, leaning towards gothic. For five minutes, it makes you feel the loss of a soldier. The solemn The Journey Home has elegant moments and once again there's this brilliant guitar solo. And then Crossroads presents itself, the beautiful closing section with new material. It has a great melody and the intensity is sky-high throughout the entire piece. The theatrical moments are wonderfully infused with a gospel-tinged atmosphere. Magnificent.

Knight Area has made a fantastic follow-up to the impressive first "D-Day" album with this second part. With this diptych, the band has embarked on a triumphant march of victory in which they have expressed all their emotions regarding the subject. Feelings of heroism, pain, suffering, euphoria and traumatic flashbacks pass by. This diptych, could this be more dignified?

Originally posted on www.progenrock.com

The most important of these, there's no getting around it, is the fact that Knight Area should now be addressed as a prog metal band. This transition has been in the air since guitarist Mark Bogert (2012) and bassist Peter Vink (2013) joined. On "D-Day" this means that the share that Bogert has had in the music, both in terms of playing and composing, is considerably larger than before. Keyboard knight Gerben Klazinga being less prominently present is never an issue. He often plays supporting piano parts. In a Don Airey-esque way, Klazinga asserts himself. When you hear what flashy guitar work Bogert delivers here and also what beautiful orchestral arrangements he has added to the music, one can only respond with a big smile. The solid band sound is of course full of typical Knight Area characteristics such as bombastic dynamics, emotional charge and melodic richness.

Therefore, it fits like a glove that a change of singer has taken place, the experienced Jan Willem Ketelaers has taken over the microphone from one of Knight Area's anchor points Mark Smit. Ketelaers has a distinctive voice that sounds beautiful in the low end, excellent in the midrange and truly brilliant in the high end. He should feel like a fish in the water with the intense music that surrounds him, enabling him to use all of his capabilities.

Which brings me right to the concept of the album. Knight Area made a concept album with "Realm of Shadows" in 2009, never before as on "D-Day" was the story so evidently present. Of course, it's all about the events on June 6, 1944 on the coast of Normandy. It was the day that several thousands of Allied soldiers carried out a massive invasion that eventually marked the beginning of the liberation of Western Europe. Knight Area treats this subject with the utmost respect, with honest lyrics that articulate all imaginable emotions. In addition to these lyrics, written by Ketelaers, the CD booklet contains a short historical explanation, containing some facts for each song. The combination of lyrics, music and artwork will keep you busy for hours.

The album opens strongly with a speech by General Eisenhower supported by beautiful, heroic orchestrations. When the song actually starts, it seems that Eisenhower has also put Knight Area on edge with his pep talk, because with New Horizon the adrenaline really oozes from your speakers. The heroism of a soldier, willing to die for a greater cause, is terrifyingly trapped in almost gothic-like atmospheres.

The following Overlord is a resounding song with driving organ playing and cool riffs. In your imagination you are in the middle of the front line with those blasting salvos from drummer Pieter van Hoorn. Blood On The Risers is the ultimate proof that Knight Area manages to create fantastic melody lines seemingly effortlessly. In this regard, attached video clip speaks volumes.

The band continues with someclassy songs and Knight Area wouldn't be Knight Area if there weren't any stunning ballads. Well, with Omaha Beach and When I'll Be With You, the band exceeds all expectations. Omaha Beach is quite solemn, with fiery guitar playing at the end. When I'll Be With You, on the other hand, is a sparkling piano piece played by Robby Valentine. The swirling play on the grand piano, combined with the intense vocals, which, in the high notes, are very reminiscent of Marcel Veenendaal (Di-rect), are unparalleled. Of the last few songs, especially the euphoric Wings Of Time and beautiful closing track Freedom For Everyone are the crown jewels on the album. Winston Churchill's speech in March To Victory about the capitulation of the German Empire, is equally impressive. The finale of Freedom For Everyone is so immeasurably cool. Almost every band would end with a great guitar solo, Knight Area, on the other hand, has a singer in Ketelaers who, by giving himself completely, manages to frame the album's concept with dignity, thereby giving you goosebumps.

While writing this review, it became clear once again how terribly topical this album's concept is. "D-day" is a great album with integrity that has a subject that has often been addressed before. Never before have said events touched me as much as through Knight Area.

Originally posted on www.progenrock.com

Well, as a fan of the first hour I have followed Knight Area during the years and often seen the band. I consider the third CD Realm Of Shadows from 2009 as their best effort. Then gradually Knight Area turned into a more heavy sounding band, with echoes from early Dream Theater. From that moment I lost Knight Area, despite the fact that in 2014 Dutch legend Peter Vink (Q65 and Finch) replaced Gijs Koopman. Recently I got in touch with prime mover Gerben Klazinga who send me the new album D-Day, from 2019. This 7th studio-album fearures new singer Jan Willem Ketelaers, he worked with Arjen Lucassen (Ayreon) and Robby Valentine (who is also a guest musician on this new Knight Area album).

On this new Knight Area album the band delivers very accessible melodic hardrock that borders with prog metal, bands like Queensryche, Savatage, Ayreon and Dream Theater come to my mind. It's far away from the sound on the debut album The Sun Also Rises, but I am impressed the way Knight Area presents the dramatic D-Day concept in the 10 compositions. The approach is very song-oriented with the focus on new singer JW Ketelaers (powerful and a good range) and excellent guitarist Mark Bogert (he easily switches from lots of Satriani/Vai-like blistering and biting runs to moving like Andy Latimer (Omaha Beach) or classical guitar like Steve Howe (March To Victory). Gerben Klazinga his keyboards are often functional (many beautiful orchestral layers) but at some moments he shines with runs on the synthesizer (The Landing and Wings Of Time) or waves of Hammond organ (Overlord). The rhythm-section does a good job, often propelling the heavy sound.

The songs are embellished with some captivating musical ideas, like the voices of Eisenhower and Churchill, the lyrics of a psalm, and the sound of militairy drums, all tributing to an atmosphere that matches with the dramatic subject D-Day. Another strong element is the use of dynamics, lots of heavy parts but also some slowdowns, in order to create tension. The song When I'll Be With You even features only Robby Valentine his tender Grand piano and JW Ketelaers his melancholical vocals, simply wonderful. The final track Freedom for Everyone is dedicated to the victims of the socalled Post Traumatic Stress Syndrome, as a psychiatric nurse I have often seen what war does to the mental health of young soldiers, devastating! In this song Knight Area succeeds to create a very compelling atmosphere that matches with the changes of the mental state: first dreamy with warm vocals and twanging guitar, then moving guitar, strong vocals with emotional undertone and lots of fiery guitar runs (like a 'Heavy Howe') in a bombastic climate, what a strong conclusion of an impressive album.

If you are up to this heavy and accessible sounding Knight Area with its song-oriented approach, and a focus on powerful vocals and harder-edged guitar work I am sure this album will delight you, well done Dutchmen!

The re-recordings are ok, they don´t differ too much from their original versions, except for the slightly louder guitar and bass parts. This and Bubble hint the new direction towards a more hard rock sound, but not much. This Day could be in any of their earlier stuff, so I guess if I had listened to Between Two Steps before Hyperdrive I would have no clue that they would change their original symphonic neo prog sound that much. Even the only new track that did not made to the next CD, Xerenity, is quite the same style as before. A pity that it is so short (barely over the two minute mark).

Rather than a taster for their new sound, Between Two Steps is more like a sad goodbye to their golden years.

Rating: 2,5 stars.

Of course I expected them to keep leaning a little more towards the classic symphonic progressive sound they were courting since the very beginning. Alas, that was not to be, although Knight Area did not shed their trademark sound altogether. The opening track Don´t Be Afraid Of The Dark was quite misleading since its heavy guitar riffing and atmospheric keys seemed to indicate they decided to take a progressive metal approach, but that does not repeat on the remaining songs, although the guitar sound is indeed more upfront and heavier than before and the keyboards do take a kind of back-seat on several tunes, but not on all of them. On the plus side their knack for writing melodic tunes was still intact: whether you like or not their new instrumental take, the songs are very good. And in many ways I keep loving some of the stuff: Avenue Of Broken Dreams is a good example (it has a mini-moog sounding solo that is as brilliant as anything they have done in the past). Living In Confusion and Running Away are also songs that could sit comfortably side by side with tracks from any of their best moments. Still the lingering feeling after all these years is still the same: an hybrid album, with some excellent tracks bearing their old sound and some that sound a little forced and/or out of place.

So in the end I cannot shake off this feeling of strangeness. A (good) progressive band trying to sound "simpler" or "modern" for the wrong reasons. Or maybe my expectations were just too high after a string of fine albums that had a firm sense of direction, something this one does not. And even if none of the songs are bad or even weak, the production is right and the performances are spotless and tasteful, this is not a CD that is very convincing. A lack of identity? This is the main point here: For, individually, I like all of the tunes. Together they simply don´t work as a whole. A band that lost their bearings, not their talent. Wish I could say more.

Rating: 3 stars.

For some reason I have always thought The Sun Also Rises was a kind of good, but derivative record, with the band still finding its way. Upon listening to it after all these years I found that this reasoning was wrong: although one could hardly called the music here challenging, the sound was already very much their own by the time they decided to put their stuff on record. Looking at the credits we see a band that was changing members during the recording of this album. However, the album flow is very even and you can´t tell the struggles they might have been facing. With absolute no fillers, Knight Area delivers a CD that is full of great songs, beautiful melodies and tasteful arrangements. I really love those Hackett/Gilmour/Rothery-like emotional guitar solos, the Banks-ish keyboards sounds, the tight rhythm section and their strong sense of melody. Mark Smit may not be the best singer around, but his delivering is more than adequate and quite convincing. Although the music here is not that original, their songwriting is far superior than most bands and it is no wonder they delivered so many excellent records in the next years.

It is hard to point a highlight, since the whole CD is beautiful and strong, but my favourites are the powerful Conspiracy and the fantastic title track with its guitar/keys duels. With a very good production for the time, The Sun Also Rises is one of the best debuts of any neo prog bands I´ve seen in many years. And I´m glad I had the opportunity to rediscover this gem I had forgotten in my collection. If you like fantastic melodies, vintage sounding keys and superb performances you can not miss this one.

Rating: 4,5 stars. Highly recommended!

The line up for this album consists of Gerben Klazinga on keyboards, Jan Willem Ketelaers on lead vocals, Mark Bogert on guitar, Pieter van Hoorn on drums and Peter Vink on bass. The album is available on CD and digitally.

The album starts with the introductory track "New Horizon" (6:29) which sees the music beginning a little bit lightly as the main focus here is a spoken word section, a speech meant to rally troops, and then the music builds, interspersing heaviness and drama effectively with guitars and synths, upbeat and powerful. The vocals are perfect for the style of music, and the music is definitely Neo-prog with a bit of heaviness to it. After some vocals, the last part of the track features more spoken word recordings, this time the famous speech by Churchill. "Overlord" (5:10) continues with the heavy/neo prog sound, this time with a section that features the rapid fire drumming style that approaches djent territory, but this is just used to build up tension and to amp the atmosphere, which works quite well.

"Blood on the Risers" (5:07) starts more hesitantly with heavy synth layers and then the heavy/neo prog sound starts again, but with the synths driving more of the sound this time. It also features some counterpunctual vocal layering in the chorus. Even though it is still a moderate tempo, the music still has that heavy underlayer and a dramatic guitar riff and solo in the instrumental break. It all ends with military singing. "The Landing" (4:58) is a slow ballad of someone singing to their child to comfort them in their vacancy because of being called to war. The music intensifies later to a faster tempo and heavier sound. The track is quite powerful with emotional vocals.

"Omaha Beach" (6:01) is also an emotional track, this time remaining slow through the verses. Later in the track there is some great guitar work. "Rememberance" (4:05) picks things up in tempo again, and returns the heavier element to the music with guitar riffs taking charge, embellished by keys. "When I'll Be With You" (3:44) is a piano-drenched ballad with vocals, very emotional again, and quite full of power, but maybe a bit too sentimental. "Wings of Time" (4:35) brings on the dramatic riffs with rapid fire drumming and heavy guitars, with a slower bridge and instrumental break that is shared by both guitars and keys after the prayer of a soldier. It reflects a slow march to victory and approaches a cinematic style.

"March to Victory" (7:45) begins the English broadcast of the German's signing their surrender and the declaration that the attention of the war will now be devoted to winning against the Japanese. Two minutes in, the music finally starts with triumphant synth riffs and a moderate beat and vocal melody. The chorus again features the main melody with another vocal layered in providing counterpoint. A nice interlude with piano and soft guitar comes in during the instrumental break, later, when the drums come back in, there is a great synth solo, then more soft guitar after before returning to the chorus. The last track is "Freedom for Everyone" (6:50) is a more stately style track as it wraps up the feeling of victory and the overall prize that is won.

So, overall, it's a decent album that leans more to the Neo-prog side, but also uses healthy doses of Heavy Prog to help portray the subject. The handling of the subject is more interested in the victorious side of war and not so much the dark side of war which is the reality that surviving veterans have to live with in their memories. In that respect, it is unfortunately too sentimental more than it is realistic. In other words, it takes on the more rhetorical side of war, with freedom for all being the prize, mostly ignoring what the cost it took to gain that prize, that some people have to continue to pay a high price for gaining that prize and ignoring the fact that those people are largely ignored by the public and government because of the false hope that the prize will be enough for those women and men that have to fight with mental illness for the rest of their lives from the experience. But, anyway, for the purposes of the positive side of war, it's a good album and the music is effective in that respect. The message isn't really the right message that I would expect in the realities of war, but for the message the music is trying to convey, it is pretty good, and as for the music alone, it's a 4-star affair. But, war is never the best solution as the cost is much higher than we tend to believe.

The nine alternating and pleasant compositions (between 2 and 12 minutes) again sound very accessible and melodic. And again we can enjoy a blend of 24-carat symphonic rock (in the vein of 76-77 Genesis), neo-prog (like early IQ and Pallas) and more song oriented progrock. The climates shift from dreamy (with tender piano and passionate vocals) to powerful mid-tempo rhythms (with fiery guitar runs and fat synthesizer flights) and bombastic (with lush keyboards and Moog Taurus bass pedals). In many songs the focus is on excellent guitar work (from sensitive to biting), often supported by the distinctive sound of the Hammond organ and the unsurpassed Mellotron. Knight Area is at their artistic pinnacle in the track Momentum: from a swinging bass with violin-Mellotron to a Vinage Keyboard Heaven, featuring swirling Moog and impressive choir-Mellotron, goose bumps! Also the long final composition Occlusion showcases the huge potential of Knight Area, what a cascade of shifting moods, breaks and exciting solos. And what a breathtaking grand finale, including Moog Taurus bass pedals and choir-Mellotron, I am in Vintage Progheaven! Knight Area their progrock is a fine balance between showing skills and melody, this third album is a very strong example.