GREY ORIGIN

Here is a Roman musician/artist of the very highest caliber, became known for his long career with Italian RPI group Mad Crayon, having released 4 albums in 28 years, not exactly the most prolific source of material. On the other hand, Inner Prospekt remains the realm for his solo creativity and as such has offered since 2014, a whopping twelve absolutely original and fascinating releases that have taken me by storm. I am happy to report that I have all 12 of his works and very happy to be so blessed. Starting with the "Dreaming of Tony Banks", now there is a title that shows credentials, the keyboards maestro gets to generate whatever comes to his mind, disregarding protocol or obligation, but nevertheless incorporating heavy doses of electronic, ambient, symphonic, jazz and classical to his progressive muse. Mostly instrumental but occasionally infusing some vocals, the listener is taking on a personal tour, a panorama of cinematic arrangements that aim towards establishing a limitless mood, never boring or stagnant, molding his propensity to blend various levels of synthesizers with dreamy e-piano, occasional blasts of mellotron and shifting drum patters that keep paying homage to the groove. Technically dazzling in his playing, there is also a playfulness that shines through that is probably what hooked me so fully, as the spirit is one of contemplative fun.

His latest release "Grey Origin" follows on the heels of the masterful "Canvas Two" (2021) release, an album that has rung the bell, way up there, as the hammer hits the launchpad. In typical Inner Prospekt style, the "Entrance" (3:20) lays down the rules, stirring e-piano modulations on a funky beat, flush with jazzy colorations and as a bonus, a ripping fretless bass rumble. This continues on the epic "The Machinery", a 10 minute 45 second behemoth that astounds. As Alessandro states on his site:" he focused more on contrasts and moods. He uses drums that sound like the 70s and a slightly detuned upright piano, causing trouble and discomfort throughout this repertoire sprinkled with female choirs, vocalizations and sound effects, like ghosts, give this music a disturbing and destabilizing effect". Indeed, the bopping bass solo does it for me. Spectacular kick ass music. The sneaky "Brain Sausage" has another bass lead, with a shuffling marshaling beat, gliding along like a breeze. Electro-jazz that keeps the pot stirring and intensively setting down more pleasure markers. This is in stark contrast to the initially placid "Gymnectomie", flush with classical influence a la Eric Satie, ponderous piano etude that explodes into a more forceful arrangement, a trippy drum and synth chill leads the way, like driving a fast car on a nocturnal autostrada, beaming headlights the only succor. Once parked, the jazzy shuffle begins anew with that devilish bass craftily carving away (Alessandro probably found out about my bass fetish), the final stretch all this is combined to rev the engine up and head out on the highway, as the choirs kick in. Fascinatingly delicious.

The eerie "Le Docteur" has bubbling synths as if in a laboratory (see the cover art) , a mad doctor at work on some hapless android patient , doom expressed in the form of clanging sounds and shrugging beats , as if some scene from a Bond movie. A hint of childlike carnival sounds, and the majestic theme marches on, hallucinating choir vocals not withstanding, gearing up to a bombastic finale. Bravo. "Cavie" has famed Spanish guitarist Rafael Pacha on board, with who Alessandro had collaborated on the magnificent medieval-tinged The Guildmaster project. Once again, the powerful bass bruises unashamed, charging forward like the spirit of Mick Karn (a bass guitar legend of the highest order) before collapsing into a serene pool of melancholia which finally leads to the exotic and quixotic guitar solo. Imagine a jazzy melange of Santana and Japan without any vocals, surging into the blazing sunset. Pure finesse.

The magnificent "Special Waste" is the other colossus here weighing in at just over 10 minutes and once more, highlights the recipe for sonic success. A brief piano intro, spiced with atmospheric drones, slashing synths and a fretless groove, the pace is a contrast of blurry confusion and yet there is structure and definition. The extended breathing sequence is pure Sci-fi glory, where the ominously rising polyrhythmic beat, the theme drowning in sorrow and the melodic shifts come and go, only to return, finished off by a fretless rip and some cool e-piano meanderings, what a recipe for pleasure! Well, this is bliss.

Three shorter pieces to lay this patience -laden patient to bed (or gurney) , the quirky Igor-esque "L'Assistant" , a synthesized mood piece with wide swaths of cloudy electronics, a forlorn voice in the distant horizon, playing the somber piano. "The Plague" is perhaps even more sinister, a rattlesnake shaking its tail not faraway, tough goose- stepping binary beat and that slinky e-piano doing serious damage. The virus enters the system via the violin synth and the unforgiving disease spreads uncontrolled. This is truly genius stuff. A finale "Ex It" is as contemplative as it can get, a lounge lizard piano shuffling a smoke gets in your eyes melody, a world where fatigue, stress and surrender seem to coalesce, perfectly capturing our last 2 years in a doom-filled cocoon of sound.

A sure fire masterpiece.

Easiest 5 Foggy Foundations

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