STAIRS

Fitting title as the début album "No Air" has now obviously climbed to an even higher plane with this sophomore release, this contrast-minded combo from Groningen led by master guitarist Gert-Jan Schurer is a force to be recognized by prog fans, regardless of their stylistic affinities. Merging classic neo-prog with symphonic tendencies, the output is heavily dependent on both male (Adel Saflou) and female vocals (Hiske Oosterwijk), backed up by a solid crew on keyboards, bass and drums. The Vlerk artwork has a well-planned continuity, as both splendid covers maintain this turquoise hue, with the band name and album title in the same fonts, as if an ongoing book in a musical library. "No Air" was unanimously well received by the prog cognoscenti and "Stairs" is an even better upgrade, in my humble yet roguish opinion.

Blasting forth on the lobby's throttling "Demon's Dance", the recipe described above is immediately apparent, blending pounding riffs with serene fluttering, as both vocalists expound their vocal duties with passionate zeal, swirling and twirling with flair. It's the harmonies that really astound, as I am a sucker for wailing voices, providing an overpowering sense of attention to detail. The slight Middle Eastern feel is intoxicating, the lead guitar seductively weaving into the soul, as intense as can be, Schurer can play with the best of them. David Klompmakers has a bass sound that is up-front and center, meshing well with Wieger Dijkstra's thundering drum paraphernalia. A sizzling and attractive opener.

Though surely expected on the mezzanine, the velvety and bass-led "Skin Deep Sky" suggest a profoundly sensorial journey that shifts the listener into an alternate plane, a brilliantly gleaming sonic horizon fuelled by romantic vocals, that veers off into an orchestral section that elevates the melodic content with instrumental flair, from the Jan Munnik synths to Gert-Jan's grizzly guitar bursts, a masterfully effective track. Level three leads to a veranda of more accessible contrasts, Oosterwijk slashing through the thick keyboard jungle with glee, "Don't Go" has a pleading quality that defines our recent times, as forced isolation has caused havoc with our once comfortable routine. This is a thudding compact track, immediately attractive and powerful, where both the drum work and the vocals are exceptional. The keyboards, the bass and the guitars do not lag far behind, a perfect option for a prog radio show. On the fourth elevation, a balcony of hopes and dreams comes in the form of "I Am Tomorrow", a rollicking classic rock track, not far from the current breed that offers immediacy, intensity and technical prowess within an ear- friendly package (Sylvan, RPWL, Nine Stones Close, etc..). Adel's growly delivery is off the charts convincing, the softer Hiske harmonies devilishly clever and Gert-Jan's inspired flick of the wrist riffs totally beguiling. This should go down a storm in a live setting.

The next plinth begins with another brooding syncopation fest from Dijkstra (Dutch drummers have a long and glorious history of exceptionally solid playing), a modern take with loads of electronic atmospherics, attention to minute details in the elaboration of the track, with intricate guitar barrages as they interweave with the drums (a Led Zeppelin quality). "Misspend", is masterclass of investigative prog, ardently scouring for new sonic territories, yet clearly appreciative of past legends (Hiske doing her Jon Anderson bit to perfection). Spine tingling stuff! The sixth-floor terrace is the title track, a vaporous affair that breezes along like a warm summer wind on the polder, superbly restrained, with Klompmakers rotund bass seducing as much as Oosterwijk's vocal prowess. When the sparkling guitar screeches forth, the arrangement shifts into cruise control, the anthemic melody is drenched in beauty and 'sweet surrender', Schurer's axe ascending higher and higher.

The penthouse landing is where one meets the "Depraved Mind", as it encapsulates all of the above comments and impressions into one solid 11-minute epic ride. At times dark and stark, as the title may imply, there is a sense of histrionic inevitability verging on mania, the guitars buzzing and the synths scouring the void. The rhythm section propels like a Verstappen racer, infusing some lighter fluidity with playful voices, though Adel also knows how to raise the rage with overt impunity. A roller coaster of stylistic variations that make the time go by as if on a hurtling bullet train of sound. The mid-section that deflects towards more experimental and ambient textures is what finally truly convinced me of this band's innate quality. The sonic orgasm is to be found towards the end, where my white flag of surrender is raised, and unapologetically! I know when I am licked!

Superbly impressive and one of the great albums of 2024. 4.5 stages

'Demon's Dance' dynamic intro PORCUPINE TREE, the riff, the heavy rock choirs looking at Alice In Chains, the vocal TEARS FOR FEARS, a hell of a cocktail; the superimposed voices of Adel and Hiske on an atmospheric background with Gert's solo sending very far. Final with a typical falsetto and the nervous, modern, rhythmic, melodic guitar. 'Skin Deep Sky' continues, in 5/4 for our musician friends, a captivating atmosphere, soft new wave. A melodic spleen looking at MEER for the vocal; this softness engages with a soft synth à la Wally BADAROU, incisive violin pads and a sound taken from Olympus, enchanting. 'Don't Go' goes upmarket, heavy soft metal prog riff with Hiske in front; the tonic rhythm of LESOIR, the fat keyboards of LIGHT DAMAGE, fresh sound, calm vocal harmonies and the angelic, captivating chorus. Ambient finale with the bass drum tom. 'I Am Tomorrow' with this mix of guitar- synth riff and vocal; rhythm like on a boosted TEARS FOR FEARS, on the clear voice of Joe JACKSON, the guitar juggling between heavy prog and melodic. The vocal duo resumes, accentuating the creative work; nostalgic break making you forget the melody.

'Misspend' with an intro worthy of the best ARK with these oriental percussions, go check your classics; association of clear pad and ethereal choir on a melancholic, nervous guitar reminiscent of the jousts of Ian of SAGA. The plus this crystalline piano bringing the vocal duo to MEER again, they must know each other. A dynamic sound with a hook synchronized with a knife; final choirs with a roaring pad and sparkling Gert. 'Stairs' sad ANATHEMA arpeggio; cinematic velvet choir, contemplative spleen rise, some jazzy traits; musical latency with whispered vocal break, drops of words. The musical reverberation with the soothing monolithic piano on an intimate break where Gert completes the work of stupor. 'Depraved Mind' frontal vocal attack in staccato and its dark, threatening and intense new prog orchestration. Gert abuses the notes of his guitar; it changes suddenly, choirs, synths provided and electrification of the tenacious riff. Wieger's pads amplify the atmosphere bringing with the break an ambient progressive variation, overwhelming. The new prog is there, a vitaminized ersatz of DREAM THEATER, Steve WILSON and MEER combined. The finale is once again aggressive with the drums, the vocal duo sowing enthusiasm, jostled by Gert who plays his best solo.

PERFECT STORM releases its second album, tonic, progressive and adventurous. More synthetic, rhythmic and captivating, the bass is strong and accompanies unstoppable melodies. 'the stairs' as a possibility to go higher; Gert as a worthy heir to Trevor RABIN for this fresh, evolving game, with reminiscences of the aforementioned groups. A major album with the pugnacity of YES if they had continued today...(4.5) originally on Progcensor.