PERFECT STORM

'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.

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

This is good old fashioned neo prog, but in many ways, it ties in with the melodic rock/prog crossover style which became popular in the Nineties, particularly with American bands. Although there is no doubt all these guys can play, they rarely allow themselves to get caught out in the open with solos but rather the musicians tend to stay somewhat in the background with the focus mainly being on the vocals. With two wonderful singers that is a good call to make, but one of the real joys here is that one never knows what is going to come next as they can switch from all out belting melodic prog to suddenly slowing everything down, bringing in more of an acoustic sound and totally changing the tempo and emotion. The best example of this is probably in "The Search" where the tempo and emotional change is enhanced by the switch to the delicate sound of Hiske, away from the more melodic rock sound of Adel. Then when that section completes, we go into a brash Muse-style guitar rip which just contrasts so much against the delicacy which has gone before. It is at times like this that the guys settle into a groove and let them show off their chops just a little, but never for too long.

This is an album which will rightly appreciated by fans who would not normally listen to prog as well as the more hardened of us, and I certainly look forward to hearing more from them in the near future.

The piano, one of the centerpieces of this album which gives rhythm to the titles, either melodic or heavy, yes heavy you heard right; but not heavy prog here, rather heavy PORCUPINE TREE with incisive drawer atmospheres which give more peach; certain moments when the guitar solo with a very fat riff gives the change and embarks us on good metal prog, that is to say. Moments when the jazzy variations are also well marked, starting with crystalline tunes, groovy limit where we can hang on to Pat METHENY. Note Jesse's drums well in place to give a remarkable frame to each of the tracks.

PERFECT STORM gives us crossover rock, some will say neo-prog with the sharp guitar keys, others will notice that the keyboard is often retro flirting with the Mellotrons and other Hammonds. An album where everything is linked, where the voice is immediately associated with the instrumentation, where the contribution of a female voice can also make one think from afar of the magnificent experiments of ANATHEMA; less dark however, more fruity if you follow me a little in my columns! "No Air" to listen to again for the palce given to the piano and the enchanting voice; "Mind's Eye" for this Jacksonian variation which makes this group go in many directions with happiness.

PERFECT STORM sends you to different climates and progressive atmospheres in order to make you have a good time, remember March 19, 2021 as being the release of a fresh, offbeat and crazy musical OMNI but very pleasant to listen to.

Characteristic for the music of "Perfect Storm" is the high variety, which is offered to the listener. This ranges from delicate piano sounds to powerful guitar riffs, so that the album always sounds dynamic and always builds in the right places increases, which then develop sometimes predictable, sometimes unpredictable in a certain musical direction. This is progressive rock! For me personally, however, the highlight of the album is called Adel Saflou. He has this voice that carries you away, that touches you and in which there is so much energy that you could even enjoy it acapella. Saflou's vocals are the hallmark of the album, which are complemented and accompanied by beautiful vocals from singer Hiske Ossterwijk. Together they create breathtaking harmony vocals in places that the keyboardist has to think carefully about which chords he can put underneath. Keyword keyboard: Ard Offer's keyboard playing is another highlight, as he can skillfully switch between roaring B3 hammond sounds and neo-progressive sweetish pads.

In the end I feel positively invigorated, as within the songs many musical sections end on major tones and you never get the feeling that you are listening to a gloomy or even gray album. Top! For me one of the strongest debut albums of the year so far. Clear recommendation for all melodic prog listeners. I'm already looking forward to the second album of this fantastic band. 4,5 Stars!!!

Adel Saflou is the main singer here, well, occasionally reminding me of 'grandmaster' Mark King, yeah! Come what may, he posesses an excellent neo prog fitting voice, and this is nicely complementing with Hiske Oosterwijk, the female counterpart, who has a minor role though overall seen. Schurer's guitar work has variety, solo and rhythm styled, warm, sensitive as well as provided with a harder edge like on The Search. As to be expected the rhythm department delivers a solid part, keyboarder Ard Offers serves quite varied impressions, for example some Mellotron snippets on How It Ends. Music-wise they are underway akin to some neo progressive bands deriving from Poland, like Believe, Collage, Quidam, Satellite aso. Excellent! A first contender for the album of the year ranks. 4.5 stars.