PERFECT BEINGS II

Between 2014 and 2016 I stopped writing reviews while I concentrated on putting together a book, which took far longer than I anticipated. But, just because I wasn't writing didn't mean that I wasn't being sent material, and since the beginning of 2017 I have been trying ever so hard to catch up, even though events seem to conspire against me. Anyway, this is why I am only now writing a review of the second Perfect beings album, which was released in 2015. I am feeling even more guilty than normal as having just taken the CD off the shelf to have it readily to hand I see that it was signed by every member of the band! Oh well, better late than never I suppose (sorry guys).

I was a massive fan of the debut album, and in many ways this is a continuation, with strong songs, amazing vocals and wonderful musicianship. One thing that one immediately notices about the music is the vast amount of space between the layers, which in themselves can be quite compressed at times and free floating at others. Ryan Hurtgen has a wonderful clear and clean voice, and he is always in total control, whether he is powering through the notes or just letting them linger and drift along the sonic breeze. With him is a quartet of musicians who are all masters of their craft, yet don't feel the need to always force themselves to the fore. This means that there are quite lengthy passages where Johannes Luley (guitar) is almost absent, yet others where he displays his variety of approaches and sounds, Jesse Nason (keyboards) has times when he appears to be having a well-earned rest and others taking the lead or driving the others along, while bassist Chris Tristram can be at the back or taking a far more Chris Squire-type role. Then there is Dicki Fliszar who appears to be influenced by Phil Collins, Nick D'Virgilio and Mike Portnoy, along with a significant amount of jazz: he keeps it calm when the need arises, but he appears to be much happier providing multiple rhythms and contra rhythms as he blast around the kit.

This is crossover prog at its finest, as while it is innately complex and complicated, it is also incredibly easy to listen to and enjoy. It is only when seriously listening to the album that one realises just how much is going on under the surface to create the picture of the majestic swan swimming along. The use of a few guests allows the band to expand their horizons without losing their own identity, and the result is a bloody fine musical experience indeed.