INNER PROSPEKT

As I was imputing this latest offering from Inner Prospekt into my database (I have so many albums I need to keep track of them all), I was stunned to visualize that I have all 14 studio albums from this amazing musician I first discovered when he was /is still a member of Mad Crayon (having all their 4 releases as well). Suffice it to say, Alessandro di Benedetti has certainly grabbed my attention as well as pulled on my loyalty heartstrings, the sheer quantity easily matched by the consistent quality over the years. He has also been a much in demand session guest on a multitude of releases from the medieval-folk project The Guildmaster, the hyper-prolific The Samurai of Prog, as well as albums by Kimmo Porsti and Rafal Pacha. One needs only to observe all the high ratings on numerous prog sites to realize I am not the only fan (though I am a superfan, just missing a chance meeting in Rome last November but surely postponed due to conflicting schedules). Many of the afore-mentioned artists have been loyal to him as well, eagerly participating in the numerous projects Alessandro has produced, at a rather astounding pace, may I add.

"The Bridge" is the opening salvo, a lovely duet featuring bassist Daniele Vitalone and Alessandro on keyboards and drums, the spotlight clearly on some spectacularly fluid piano motifs that both display elegance and virtuosity. From short intro to a massive epic, we move to the 15 minutes+ "Mantra", a perfectly restrained electronic piece that sets a hypnotic soundscape, with echoing e-piano, pinging synths and ponging bass, mechanical percussion and solid drum groove, cleverly decorated with the urban Giuseppe Militello saxophone, perfectly capturing those somber 'isolation for the nation' Covid years, Alessandro's hushed vocals as if still wearing those darn masks, and stating repeatedly "Everything Will be Fine", the eternal mantra for those odd times we collectively had to endure. Forget vaccines for a second, this is panacea. The excruciatingly solemn piano spot is truly magnificent, leading into Federico Tetti's absurdly strident electric guitar solo, within the nevertheless moody foundation that does provide a sense of future salvation. The ticking clocks avoid the piano drops of patient resolve that was needed to survive the ordeal.

The inherent sadness of "Winter Day" evokes intense appeals for forgiveness, a simple song with delicate piano, fragile synthesizer, a steady beat and a melancholic vocal, a gently child-like expression that attempts to heal the heart. Marco keeps things melodic in the background. A father's plea for understanding to a son, who perhaps was not given enough tutelage and left to his own devices, a roll of the dice that can lead to a lot of grief. Time for another mega piece, a near dozen minutes of appropriately delivered progressive rock bombast, initially composed for Marco Bernard's debut solo album (I have that one too!), a childlike adaptation of the Peter pan tale. "Neverland" portrays the adventure as a symphonic soundtrack to the narrative, with Rafal Pacha providing the effusive guitar parts and Alessandro the rest, pushing forth a busy rhythm section including a whipped-up organ flurry that is just plain terrific. The classic Genesis influence is unashamedly overt and completely delightful.

"Just Five Minutes" lasts 7 minutes and 23 seconds but Italians (and Romans in particular) must be given some latitude because their innocent exaggerations are always charmingly rendered. The piece remains a jazzy counterweight to all the progginess, a reflective introspection as a respite, utterly classy and cool and thoroughly welcome. The e-piano is smokey sensual, the slick drum fills the air with pleasurable thumps, as Rafal unleashes a sterling guitar solo, taken over by Militello's dense flirtation with emotion, as the orchestrations add all the glory one can hope for. I always said there was not enough Sax and Violins in prog (thank you Mael Brothers!).

The intensely personal "Around the Corner" is another elongated arrangement that segues nicely from the previous splendor, a musical introspection that covers all the founding blocks that makes one into an individual, for humans are inherently fragile physically as well as frail mentally. Growing pains, fears, disillusionment, sadness, self-doubt, and disappointment collide with joy, pleasure, discovery, love, achievement and happiness. Hey, it's not easy. Music is a vessel for divulging all these conscious and subconscious feelings that make up art in general and music in particular. Federico' s athletic guitar interventions, the pulsating percussive percolations as well as the various keyboards exhibit these emotions, imperfectly perhaps but it is a personal thing, revealing the angels and shooing away the demons.

I personally have always believed that humans are inherently capable of masochism as well as sadism, hopefully in occasional thoughts and even less in deeds but "The Question" is what amount of self-discipline and proper reflection is needed to live a life of goodness? Truth is, we do have the capacity to hurt others like a hyena and kill ourselves like the scorpion. Alessandro is joined here by the incredibly talented Carmine Capasso on lead guitar, a blistering and intense solo that expertly shines the light on these sad human weaknesses. Bonus track "Living Like a Looner" is a continuation of "Neverland", a final arriverdeci that has a bouncy mood, a swirling bass undertow that guides the ears, a certain vocal nonchalance in the air, some resonating e-piano shuffles paired with a whistling synthesizer solo and slashed by a terrific axe flight. Another amazing stone placed in this imposing Roman structure, here is an artist that I can wholeheartedly recommend as a major player in Progland ...and beyond. Now, about that meeting at Danny's Bar on Via Gallia on day?

5 odd waves

Keyboard texturist and compositional genius Alessendro Di Benedetti--of MAD CRAYON and SAMURAI OF PROG fame--is back with yet another collection of solo songs--this time of songs that have not been offered to/coopted by other bands. Alé's intentions are to just let all of his creative juices flow and be witnessed, sans prog definition or wildly complex constructs or time signatures.

1. "En Trance" (3:20) part BILL EVANS part JONN SERRIE, then turning more sinister before finishing with a 21st Century Ryuichi SAKAMOTO/FENNESZ touch. Beautiful soundtrack music. (9.25/10)

2. "The Machinery" (10:44) VANGELIS Fender Rhodes but then female fretless bass, vocalise, and odd percussive noises join in before everything turns modern downtempo/trip hop in the fifth minute. Like the Blade Runner soundtrack, there is quite a beautiful though unsettling mood being set here. The bass play gets quite exciting in the final third. Nice journey. Thanks, Alessandro. (18.25/20)

3. "Brain Sausage" (4:16) eerie "radio" noises open this one before a smooth jazz keyboard foundation is laid out with bass, rim shots & hi-hat, bass, and keys matching pace and melody in a jazzy weave. Then, at the end of the second minute there is a "reset" pause before all instruments settle into a more cohesive background landscape to support the airy female vocalise and quiet electric piano tinkling. Nice. (9/10)

4. "Gymnoectomie" (6:29) For the first minute, this sounds like a Satie piece turned sideways and inside out. Then, at 1:15, there is a barrage of industrial sounds woven together, preceding a racing track. Not what one would expect (but perhaps exactly what Eric Satie would have done with 21st Cent. technology). The cello and Irene Pappas-like alto female vocalise are wonderful. (9/10)

5. "Le Docteur" (4:13) opening with some Robin Guthrie-like guitar-based textures, a rhythm section and Vangelis- like Fender Rhodes play join in and establish a slowed down French film soundtrack. The interlude in the middle sounds like something from a creepy Danny Elfman soundtrack. The fullness of the final 45 seconds sounds a bit like some slowed down Tangerine Dream. (8.75/10)

6. "Cavie" (6:22) more odd combinations of sounds open this one before steady drums, spacious piano chords and muted rhythm guitar strumming support a nice fretless bass display. Drums and guitar shift into stronger dynamics before an empty Fender Rhodes solo in the third minute spaces everything out. When everybody rejoins its now an electric guitar who commands the lead, not the fretless bass. Fullness is achieved around 3:45, but it's not quite as satisfying as the stuff that came before. (I prefer Alessandro's fretless bass to guest Rafael Pacha's guitar.) The final 1:15 moves back into eery and spacious motifs. I really liked the drum work on this one! (8.5/10)

7. "Special Waste" (10:03) very nuanced, often exciting, multi-dimensional soundtrack music. Sometimes its relazing, pleasing, soothing, sometimes its smooth STEELY DAN-like and other times it slides into the tension of the suspense/horror genre. (17.75/20)

8. "L'Assistant" (2:52) weird noises open this one before Son of Vangelis, master of l'orchestre faux, takes over. (5/5)

9. "The Plague" (3:57) perhaps Alessandro's music has a little influence coming from the Ghost in the Machine-era Police as that's what the drums, subtle keyboard and guitar textures of this song feel like to me. Then there feels like a little nod to either Peter Gabriel, Dead Can Dance, or Enigma. (8.5/10)

10. "Ex It" (2:43) slightly out of tune and treated piano solo played in a kind of LYLE MAYS/PAT METHENY way. (Think "In Her Family".) Gorgeous. (5/5)

Total Time 54:59

This all would make outstanding (and memorable) soundtrack music--especially for more cerebral or mysterious/eerie content. Alessandro definitely makes music that his more enjoyable/pleasurable to listen to than 98% of the other artists I hear out there.

B+/4.5 stars; a minor masterpiece of proggy instrumental soundtrack music.

INNER PROSPEKT is the project of MAD CRAYON keyboardist Alessandro Di Benedetti, who also worked on SAMURAI OF PROG with tones inspired by those of Tony BANKS for synths and from which he released an album in his honor, mellotron and keyboards in before. His jazzy-symphonic-bluesy 'Canvas Two' from last year blew me away, what about his last opus, the 12th which comes out on a fantastic comic book comeback from Alex TROMA with brain transplant which does not go in the good direction of the researcher. He uses all the instruments, from dry drums to the detuned wooden piano that we all played once. In short, let's dive!

"En Trance" intro to the subject on a dark sound of piano notes mixing the cozy jazzy and intimate atmosphere, all on a two-beat rhythm. "The Machinery" with a sound reminding me of the DEAD CAN DANCE of the beginning, monotony and redundancy of the air ideal for a listening mantra; it goes up...progressively helped by the drums in front, while emphasizing a refined minimalist atmosphere where the bass comes to do its gig; repetitive, bewitching, hypnotic, spleen in line with current cinematic compositions. "Brain Sausage" changes tone with an electronic ambient title where the jazzy sound comes to slip quickly setting the rhythm, a little also on the last personal wanderings of Mariusz. Singular.

"Gymnoectomy" takes us on a bedroom daydream, SATIE in sight; film strip, contemporary cinematic space by the piano; sudden break in line with a CAN ATILLA, a Jean-Michel JARRE associated with the experiences of an ENO; it's soft and disconcerting, the jazzy bass still very present, the notes shell out as if flowing from a waterfall and the cello associated with final divine voices disconcerts even more. "The Doctor" sic! Dark intro with reverberating sounds, softness similar to a BLACK SABBATH E5-150; we stay on this intimate cinematic atmosphere and the contribution of new angelic voices reinforces this religious side, melancholic very gently.

"Cavie" bass forward, the surprise comes from the contribution of Rafael of SAMURAI OF PROG on guitar; a slow hypnotic crescendo punctuated by an ambient minimalist break. The guitar takes the lead in the final part, fluid, emotive, emotionally charged before the end in outro. "Special Waste" for the 2nd long title, an atmosphere of creation or the end of the world, reminiscent of the cinema of Peter GABRIEL. Archaic evolution with bass, imposing drums associated with the divine flute which denotes and brings the emotion to its height, between imp breaths and ripper saw; the piano of our childhood used to make us sink into these murky meanders without oxygen that force you to keep your breath blocked; break with a jazz-rock declination that Alan PARSONS loved in his time. By far the best track on the album for the clear atmospheres including the oppressive finale. "The Wizard" sic! Who dives back into science fiction soundtracks such as 'Avatar' or 'Birdy' for a moment, those that help to understand that we are now in another world; short title, bluffing and superb.

"The Plague" on a tune with a heavy dark riff at the start, in four beats, my memories bring me back to a certain intro of the ALAN PARSONS PROJECT with the characteristic synth; frightening electric cello, dark rhythmic, disturbing which denotes and which does good; voice of Paradise which adds to the musical dramaturgy, there I think, but I am only thinking of the magnificent Lisa GERRARD. "Ex It" for the finale and Satie for this evanescent, crystalline, warm and soothing piano; a bit of VANGELIS, the title to listen to for hours without moderation on a magnificent dram, passion when you hold us. The progressive snub to 'EnTrance'.

INNER PROSPEKT has worked well, offering a very different opus, composing an ambient album where the piano can be played divine or evil, dark or crystalline, the classical side of MAHLER emerges, a journey beyond conventional progressive music ; shovels of atmospheres, crescendos with little dexterity to allow you to fall into the sinister sound meanders of the past two years, thumbing your nose at galloping anguish. A singular album that goes off the beaten track, ideal for laying down one evening and thinking about our future, in short, very good for the record.

Inner Prospekt is certainly a performer that deserves more exposure, critical acclaim, and outright deafening applause, for contributing so grandly to our beloved musical style. I cherished his work with Mad Crayon back in 1994 with Ultimo Miraggio and have never relented since, especially when he kicked off his solo career with the 2014 "Dreaming Tony Banks", a tribute to the legendary Genesis keyboardist and composer. This is eleventh release and remains full on board with creating personal, intricate, and consummate music, much to the enjoyment of the rather demanding prog universe. Alessandro di Benedetti is the name one must keep in mind as his personal muse is Inner Prospekt and as such, he holds no restrictions to what he decides to write and play, unswerving to any master or corporation. He often acts alone but here decides to bring in some serious clout to add more definition to his compositions. Rafal Pacha is on guitar, he of the Guildmaster project, a stunning medieval prog work that features Alessandro as well. Mad Crayon members guitarist Federico Tetti and drummer Giovanni Maucieri as well as adding some sexy sax from Giuseppe Militello. the Trip axeman Carmine Capasso is similarly on board.

Lots of sublime tracks are here to enjoy, with a few vocal tracks sung by Alessandro, who is a decent enough singer. The three longer tracks are exceptional in quality it must be said, setting a distinctive mood that simply engulfs the listener into a mellifluous world of melancholic beauty, something the Italians often own in spades. "Soul of Hundred Lives" is quite the voyage, starting off with a popping bass with tip-tap drumming, cello sounds mournfully plaintive, but when the synth announces the tremendous main theme, look out! The bending notes are ever so evocative, a modern-day Manfred Mann on the ivories. The addition of e-piano adds a welcome jazzy touch, that only enhances the material. Throw in a molten guitar solo that spits, slices, and soars, and you have the making of an epic nearly 18-minute colossus, lush with twists, turns and variations, going as far as involving some slow and gentle sections, as the smoking romanticism kicks in. Strings, sax, brash guitar and some slithering bass complete the funky outro show.

The suggestive "White Skies" is another whopper, clocking in at almost 11 minutes, ignited by a mournful piano etude, something Alessandro favors in getting the ball rolling. His fragile and earnest voice relies more on emotion than operatic technique, making his craft so personal, a dedicated musician playing for his audience. Waves of mellotron rumble ahead, the voice cresting over its towering ripples, streaking synths gales collapsing inwards, the massive bass underpinning the depth, and the drums acting as whitecaps. A stormy guitar thunders by, regular and relentless as its flashes illuminate the sonic scene. The electric piano section provides once again a jazzier tempo, a most welcome addition to his rather unique style. But its really on the synths that he shines. The cello cries out in sorrow, awaiting the crowning axe solo, a simple melody played with passion.

I mean, you and I, we get it. This is fantastic music by an accomplished musician. We all need the Inner Prospekt in our lives and in our collection. May Alessandro live long and prosper?.

4.5 inside options

Remember this name: Alessandro di Benedetti.

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

I am of the opinion that Alessandro Di Benedetti's ideas are best realized by himself--there's something about the versions of his songs as performed and recorded by The Samurai of Prog that have lost or diminished the heart and warmth of Alessandro's work compared to when he is in total control. This album is perhaps the best example of this phenomenon yet as there are no less than four of these songs having been "gifted" for Samurai of Prog interpretation/renderings.

1. "Glimpse" (3:06) several chords of piano arpeggi create a motif over which bass and cello join. After about 30 seconds, acoustic guitars and jazzy drums take over before cello, synth, and Pat Metheny-like guitar take turns soloing. Very nice melodic jazz very much in the vein of Pat Metheny's most accessible and heart-wrenching. (9.5/10)

2. "Soul of Hundred Lives" (17:46) great opening--one that really sucks the listener in. Two alternating notes from a piano, drumstick and cymbal percussion, syncopated thumping bass, drawn out notes from a plaintive oboe, joined by heart-wrenching melody notes from a cello, until everything just stops at the end of the third minute to make way for some bass riffs and slow playing Fender Rhodes chords. At 3:30, full band kicks into play, establishing a funky weave which eventually settles back for a vocal performance that sounds like something from either a Guy Manning album from the Naughties or one of FISH's more recent albums. At 7:40 we take a drastic turn into a Latin- flavored excursion into a kind of 1980s uptempo, happy-go-lucky pop jazz instrumental. At the end of the tenth minute, the music thickens and darkens a bit as an Arp-like synth solos for a bit. A pretty cool, easy listening venture into "Prog Lite" despite all of the layers and sophistication that Alessandro puts into the production and composition. As we progress through this multi-dimensional epic, I find myself reminded of (and, thus, inevitably comparing this to) Eric Blackwood and Pete Trewavas' 2013 masterful 67-minute epic, "Sillhouette" from their Edison's Children release The Final Breath Before November. There are striking similarites in vocals, engineering, production, and sound choices, though EC's syrupy chords and synth washed sounds are much more classic Neo Prog. Good song with a great opening whose bluesy end section turns me off a bit. (34.5/40)

3. "King of Spades" (6:49) beautiful string support for solo saxophone and vocal. Though the lead instruments are not quite as impressive as the support/background tapestry, it is beautiful music--very GENESIS-like from the Trick of the Tale/Wind and Wuthering era--even with the Latin-jazzy instrumental middle section. There is also a lot of similarities to some of the more melodic, romantic passages by THE FLOWER KINGS. (13.75/15)

4. "Why Me?" (8:07) picked 12-string guitars open this one before being joined by piano and synth strings. Nice! Turn GENESIS' "Ripples" and "A Trick of the Tail" into orchestrated film soundtracks and you'll be in the same ballpark as me. Alessandro's vocal has a very wonderful DAEVID ALLEN-like quality and even tongue-in-cheek feel to it. I love the Banco-like solo in the first central instrumental section, and then the awesome "violin" solo in the second. The jazz (13/15)

5. "Abby's Escape" (6:14) a quirky song trying to be laid back and edgie at the same time, is highlighted, for me, by the female background vocals and weakened by the GUY MANNING-like lead male vocal. (8.5/10)

6. "White Skies" (10:48) another excellent Neo Prog song with mythic inspiration and wonderful Tony Banks/Genesis-like instrumental arrangements beneath and between Alessandro's vocals. Alessandro's keyboard performances here are especially memorable and noteworthy--though the guitar performances are also quite nice. (17.75/20)

7. "The Knight and the Ghost" (9:26) here Alessandro seems to be trying to dig deep in order to replicate the quirky medi'val beauty of GENTLE GIANT but ends up sounding more like the simpler fair of STRAWBS or ADVENT. In the third minute, a Genesis arpeggio from a 12-string guitar leads us into a shift to a new motif--this one morphing into more of a Prog Lite construct with a Larry Coryell-like guitar tone soloing over the top. Digressing into a sensitive, contemplative acoustic palette at the end of the fifth minute, we soon return to the GG theme and style for a spell. The ensuing adult contemporary jazz section is full of interesting if fairly simple sounds, riffs, and soli. The vocal sections, unfortunately, never reach the heights of emotional expression that one might expect from this title and mood. Still, a very pleasant listen containing often beautiful moments and passages. (17.5/20)

8. "The Queen of Clubs" (bonus track) (3:11)

Total Time 65:27

B+/4.5 stars; an excellent addition of melodic Neo Prog to any prog lover's music collection. It is this reviewer's opinion that Alessandro Di Benedetti's continued commitment to delivering us beautiful jazz-tinged progressive rock should be amply rewarded and celebrated. So, check out this album! You won't be sorry!

INNER PROSPEKT is a venture established by Rome based music composer Alessandro Di Benedetti. It all started with the release of several albums completely recorded on his own. The latest though were produced with the help of some like-minded friends. According to the main title, this obviously marks the second part of his Canvas series. Does he have a strict concept concerning this flow? How much are planned in total? I do not have an answer to that yet, we will see. First of all, the very nice front cover painting was contributed by Alex Troma. On this occasion he has chosen and re-arranged material from former recording sessions. Plus originally intended contributions for the Samurai Of Prog project, where he's also participating.

Is it a lucky bag somehow? Anyway, this song collection brilliantly works. While he's playing keyboards and drums on that album, the guitar duties are mastered by Rafael Pacha, Carmine Capasso, and also Federico Tetti. The latter is member of Mad Crayon fame, a band Alessandro is also playing with. What a pleasant album to listen. 'Canvas Two' has no weak points, confirms that he's a multi-talented musician and composer. What about all the manifold cello respectively violin contributions? The booklet credits are not revealing anything concerning this. Hence I assume this all must be sampled in the end, sounds real.

The epic Soul Of Hundred Lives turns out to be a revelation, undoubtedly. 'Once upon a time there was a little girl, her name was Abbygale' - Abby's Escape also evolves to a wonderful experience after all. Anyhow, actually it is almost forbidden to highlight a particular song. Just enjoy the flow in its entirety. Some hints from Van der Graaf Generator and Genesis are incorporated, where he obviously is inspired by Peter Hammill a lot. At least the vocal expression is close, by the way also to recognize regarding the current highly recommended Mad Crayon album 'Drops'. 'Canvas Two' is the first INNER PROSPEKT album I really concentrated on for some time. Definitely a recommended approach, as the music will grow further on with every new listen.

INNER PROSPEKT is the project of the keyboardist of MAD CRAYON. Allessandro also worked on SAMURAI OF PROG with tones often inspired by those of Tony BANKS for synths, mellotron and keyboards, all decked out with electronic drums to give a more modern sound. This is his 11th album which comes out on a jazzy, symphonic, bluesy and intimate variation, giving pride of place to keyboards of course. An ersatz MAD CRAYON or an evolution of its style? , hop let's take a closer look.

"Glimpse" and an orchestral intro to begin with an aria on the piano, a dark melody with the shivering violin then it starts with a jazzy atmosphere with an intimate organ, a pleasant appetizer and a dissonant final arpeggio. "Soul of Hundred Lives" and the 17-minute centerpiece, sweet symphonic intro, crescendo keyboards, the voice reminiscent of Robert WYATT, soft, melancholy then it goes up again, the nervous guitars arrive, make sense then that rises again with a hard limit riff, synthetic percussions immediately tempered by its clear, captivating synths; an epic track with its many breaks, a delicate break towards the 10 'more Génésisienne then it starts again in a more gradual way; a little clarinet, violin to throw a little spleen before a final energetic bluesy, jazzy, fruity strobe and a bewitching South American guitar. "King of Spades" composed for the SAMURAI OF PROG, the sax à la SUPERTRAMP to begin with, it sounds good jazz New Orleans, go a bit of the pink panther at the end; well the voice is there a real copy / paste of that of WYATT, melting tune, the guitar surfing on the hackettian notes of GENESIS; it suddenly turns into an explosion of notes and a bucolic guitar solo bringing this title high; every now and then I rediscover the softness and delicacy of Antony KALUGIN's climates with an assumed symphonism; soft piano and sax final. "Why Me? "Intimate, fresh 12- string intro, spring spleen before the blossoming of the warming sun, I keep it bucolic, romantic! A bit of GENESIS, a bit of the "Interstellar" soundtrack; a piano, a whispered voice for a melody with a catchy bass, "Rock Bottom" hits me with its memories; a gentle break before the high-pitched synth arrives, piercing you, reminding you that prog is definitely not dead and is reborn; the violin solo is just divine, symphonic which brings back to a famous rhyme, the drums which imposes and reminds that we are well in 2021. Title which melts for the injection of musical memories and it is not the final explosive pleasure that will contradict. "Abby's Escape" and a jazz-bluesy tune to begin once upon a time, the rhythmic bass, the voice here draws on that of the archangel; GENESIS energy period 75-76 emerges; Allesandro has a blast with his twirling, melancholic and intuitive synths; a shimmering melody, an intimate, dark, depressive tune just before getting back in hand, one more oxymoron here; smooth final with piano and strings to recover from the trip, an immense title here which may leave you stunned by its reminiscent melody. "White Skies" originally composed for his 2014 album "Dreaming Tony Banks", said it all! Soaring orchestral, symphonic keyboards associated with the numbing voice of Allessandro again over that of WYATT (yes it is hers, but it reminds me of it!); it makes me want to immerse myself in the original album; the voice gives way to the always melancholy violin immediately gripped by a nervous guitar-synth riff which gives hope to the title, bringing clods of symphonic sounds and unearthing divinely sweet harmonies; Mellotron amplifies spleen; it is a complex progressive track in its musical twists and turns, the final guitar solo starting with a symphonic SANTANA sound. "The Knight and the Ghost" composed for The GUILMASTER last year; guitar arpeggio, melancholic voice sprinkled with recent percussions, which gives a current sound, far from the retro-regressive; dark violin giving in latency, a guitar solo like spaghetti film strip all at once, the progressive evolution of the title, paf GENESIS just before "Ripples", in short we feel the spleen of the beginning of the end of the history; the sounds are set in motion with the various instruments, it becomes fireworks, it starts everywhere, it goes up it starts again, it melts in any case and it is not the piano and this jazzy-bluesy violin of the end that will contradict. "The Queen of Clubs (bonus track)" for Rafael from GUILDMASTER and Giuseppe on sax on a light ambient jazzy variation with orgasmic rise, title for the awakening of the bucolic nap in which you fell.

INNER PROSPEKT has therefore made the album which combines the creativity of the latest MAD CRAYON and the new atmospheres of progressive rock; So we have here a real crossover album in its pure definition with the sound of a dino, GENESIS in this case, and the crossovers of other groups, musical harmony making the link. Everything is magnified for a modern sound, in short 2021 crush.

Roman Dreamer (I was given an advance copy of this album)

Lush Landscapes, Plentiful Passions

Exactly a year ago INNER PROSPEKT AKA 'Roman Dreamer' and keyboard wizard Alessandro Di Benedetti (Mad Crayon, Samurai of Prog) released "Canvas One", incorporating several of his re-imagined, re-interpreted tunes done by other bands as well as some new material.

Here, with "Canvas Two", he does the same.

And staying true to the grandeur and skillful blending of classicism, jazz, symphonic progressive music, cinematic music, blues, and even some funk, INNER PROSPEKT has held to the same high standards.

Canvas Two

Bookended by two shorter instrumental tracks (actually track 8 is a bonus track, but I think it fits and flows nicely here), "Canvas Two" reveals six lovely, soulful, emotional tracks, with the for me high point of the nearly seventeen- and-a-half minute epic titled "Soul of Hundred Lives".

If there's a theme or concept here, it was hard for me to trace. That's not to say the tunes don't fit well together or frame a coherent whole.

Glimpse

Opening the album with delicate piano and soon adding lush strings, violin over acoustic guitar and organ, the piece builds into near orchestral fullness before subsiding back to the gentle piano and ending with just that bare touch of dissonance.

Soul of Hundred Lives

Reincarnation fascinates, since it suggests the possibility one can live many lives, practicing a la 'Groundhog Day' the kindness and selflessness that might finally allow the person to 'arrive'. This epic track and the lyrics cover a lot of ground, from delicate piano, to grinding bass synths, to finely constructed ambient sounds and quirky percussion, gravelly male voice that throughout this album reminded me at times of Peter Gabriel or Dave Cousins.

King of Spades

I thought of Genesis with the 12-string guitar opening soon joined by jazzy, melodic sax. The hushed male voice pulls us in on this heartbroken-in-love song, wistfully singing over piano with the full band soon joining. Di Benedetti knows how to create lush soundscapes, using strings and woodwind sounds for fullness and texture. He also shows some vocal savvy with double tracking voices and doing call-and-response kinds of voicings.

Why Me

Gentle 12-string guitar opens after some brief windchime sounds, piano and strings soon added. There's a cinematic sweep segueing into guitar/bass tension with percussive piano. This subsides into male harmony vocals and builds into a sweeping passage. Again the wistful gentle melody, and a synth takes an upper register lead over punchy bass guitar and complex drumming. More of the call-and -response vocals and the violin leads a broad, sweeping passage that reeks of romanticism and emotions.

Abby's Escape

The lyrics here were disturbing, making me think of spousal abuse of a pregnant woman, the unborn child hearing, and then later splintering into selves trying to cope. There's a sense of quiet desperation, and perhaps even menacing hint of violence or self-harm. All this over some sweeping lovely passages, gentle piano chords, and string sounds closing the track.

White Skies

Grand piano chords open unadorned tapping out a wistful melody, then joined by bass and violin sounds. Emotional, hushed vocals tell about a dark passion between (two parts of one person?) (two people?), and ineffable loss, indicated by the lush synth-led passage over dreamy keyboards. Octave vocals and harmonies keep telling the tragic tale over mellotron sounds and deliberate rhythm section. It's a melancholy atmosphere, and mid-range synth takes the lead over the increasingly jagged guitar landscape. It builds to a majestic passage, and ends.

The Knight and the Ghost

Perhaps there IS a theme (!)- tragic loss, heartbreak, making supreme effort but failure. The closing track of Canvas Two proper, opens with that sweet acoustic guitar, the trademark wistful, gravelly vocals, growing into strings over thrumming bass and drums, a clean guitar lead, building as the singer says "When I fight I lose"- that world-weary sense of frustration and loss.

Queen of Clubs

The bonus track has that airy, jazzy, soulful sax at first alone, the joined by twinkling guitar and electric piano, a haunting progression that is light yet melancholy. Sax continues singing and weeping, and ends in reverie...then revitalizes with a swell of string sounds and orchestration, building as the electric guitar wails and sings, then fades.

In Conclusion

Alessandro Di Benedetti as INNER PROSPEKT has delivered another gem of crossover progressive music, tugging at the heart as well as the mind. My rating: 4 sparkling stars.

Enthralling, Cinematic Quest for Immortality

Grand Scope, Cinematic Flavors

High Seas, tormented lovers inhabit this latest release from the fecund Italian keyboard maestro Alessandro Di Benedetti- he of MAD CRAYON, and works by MARCO BERNARD and KIMMO PORSTI, and SAMURAI OF PROG.

By my count this is the ninth album Di Benedetti has released, all since 2011. Fecund, I say.

Nine Tracks

(I didn't have access to the bonus material). The story unfolds, filled with poetic lyrics set to lush, melancholy, rich keyboard-dominated music. Di Benedetti has a gift for setting a mood- the emotions, passions, and longings are baked in, and also enhanced by the guest female vocalists- one an operatic soprano, and the others more pop- flavored.

Starting with "Anime d' Inverno" (Winter Souls), we hear the sublime operatic, crystalline voice of guest Daniela Di Pasquale, soaring and searing, while around her, the orchestral sounds surge- (synthesized?) flute, strings, all with cinematic scope. Set into this stirring opener, we also hear the many tones of Di Benedetti's synthesizer leads, wistful acoustic piano interludes, and even harp.

Sometimes

On this second track, guest Flower Rising brings a clear, more pop-inflected tone and some sweet harmonies, set over jazzy piano-led passages, while string sounds enrich the palette. In these poetic lyrics and throughout, Di Benedetti teases the mind and the heart, making us think about the multi-faceted ideas, while the feelings ebb and flow.

Goin' Down Under

Here, with a funky beat, the sense of music changes, yet the lyrics continue the melancholy tone, and the idea of "my son" enters- the sense of immortality, the hope and promise of children. I'm guessing it's Di Benedetti's voice we're hearing in this track, and he's just a passable vocalist. I like the harmonies that show up sometimes. There's a fine synth lead over quietly cooking keyboard and band accompaniment.

The Endless Turnaround

This track is a bit of a puzzle- it reprises "Sometimes" in abbreviated, wistful fashion, and doesn't add much to the mix.

Punto di Non Ritorno (Point of No Return)

Clearly one of my favorite tracks with lush keyboard passages, cinematic scope and orchestral majesty interspersed with those trademark reflective acoustic piano reveries- then dreamy female vocalizations and rich instrumental interludes with deep, burbling bass synth tones underlying the sound.

L'Errone (Error)

A gentle acoustic piano/flute opens, then lush, dark string sounds build, and subside.

Evening Dust

This one opens with spritely, capricious synth sounds and female voice, while male vocals are added, sometimes in unison lines, sometimes harmonizing. Male voice is often a weak link, not terrible but not up to the rest of the voices. A majestic passage grows, then subsides.

The Land of Fools (and also the closer "From Her Side")

These comprise a reinterpretation of the Bernard and Porsti suite "Gulliver", opening with grand opening, electric guitar warbling and soaring over tasty keyboard sounds. Lyrics tell of adventure on high seas, danger, and risk, while there is swooping lead guitar, brief instrumental passages that grow and subside, only to reawaken. Part II of this suite, "Ghost and Lies" is wistful, reflective over acoustic piano, while the passage leading up to Part III- "Laggnagg", is simply sublime. With great majesty and power the music swells, only to subside again with that emotional acoustic piano...and ends with "From Her Side", in which the female longs for her lover, and consoles herself with the "life in my womb".

In conclusion

Grand, refined, restrained- yet passionate album, with very few missteps along the way.

My rating- 4 Stars: Excellent addition to any progressive rock collection.