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INNER PROSPEKT

Crossover Prog • Italy


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Inner Prospekt biography
Alessandro di Benedetti is a talented Roman keyboardist with RPI band MAD CRAYON (who have released 3 delightful albums), who has also produced 4 solo albums under the moniker Inner Prospekt, combining dense keyboard textures inspired by Tony Banks, using synths, mellotron and electronic drums to create modern prog music that defies labels.

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INNER PROSPEKT discography


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INNER PROSPEKT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.31 | 16 ratings
Dreaming Tony Banks
2014
3.79 | 9 ratings
Blue Days
2014
3.25 | 8 ratings
The Musing
2014
3.89 | 43 ratings
The Gene Machine
2015
3.43 | 21 ratings
Deep Ghosts
2016
3.95 | 12 ratings
Ocean Suite
2016
4.17 | 6 ratings
Man in Blake
2016
3.63 | 8 ratings
Seven Ways to Lose Yourself
2018
3.82 | 13 ratings
Canvas One
2020
0.00 | 0 ratings
Canvas One Instrumentals
2020
4.25 | 10 ratings
Canvas Two
2021

INNER PROSPEKT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

INNER PROSPEKT Videos (DVD, Blu-ray, VHS etc)

INNER PROSPEKT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 1 ratings
Pages
2015
3.09 | 4 ratings
One of Each One
2017

INNER PROSPEKT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 3 ratings
Freedem
2015

INNER PROSPEKT Reviews


Showing last 10 reviews only
 Canvas Two by INNER PROSPEKT album cover Studio Album, 2021
4.25 | 10 ratings

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Canvas Two
Inner Prospekt Crossover Prog

Review by alainPP

5 stars 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.

 Canvas Two by INNER PROSPEKT album cover Studio Album, 2021
4.25 | 10 ratings

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Canvas Two
Inner Prospekt Crossover Prog

Review by Steve Conrad

4 stars 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.

 Canvas One by INNER PROSPEKT album cover Studio Album, 2020
3.82 | 13 ratings

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Canvas One
Inner Prospekt Crossover Prog

Review by Steve Conrad

4 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.

 One of Each One by INNER PROSPEKT album cover Boxset/Compilation, 2017
3.09 | 4 ratings

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One of Each One
Inner Prospekt Crossover Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars Interesting solo work from Alessandro di Benedetti, keyboardist from italian prog band Mad Crayon. As the title implies, this is a compilation of tracks from all his previous albums, one track from each. I guess this is a good way to be introduced onto his solo output. Yes, Inner Prospekt is not a band, but a pseudonym for Di Benedetti himself, since he plays all the instruments himself, and the few vocals are also sung by him. I really don´t understand why he is not labeled as an electronic artist here on PA. For the music inside is quite different from his main group, being a mix of electronics and various styles of music. There are lots of influences: from Erik Satie to jazz, italian folk and beyond. Most laid back and some bordering the atmospheric.

I found his music to be more on the interesting side than really good, but that´s just my personal taste. However, If you´re a fan of Progressive Electronic I surely recommend this, as Inner Propsekt does offer different and interesting ideas into this field.

 Ocean Suite by INNER PROSPEKT album cover Studio Album, 2016
3.95 | 12 ratings

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Ocean Suite
Inner Prospekt Crossover Prog

Review by malamala

5 stars Ocean suite is an extraordinary piece of music. It's a unique track 50 minutes long, that brings us in a very mysterious world. It's inspired by a book, that I haven't read yet, so I can't say how Alessandro has been guided in the composition of the suite, but indubitably it must be a very intriguing story, regarding a painful story from the past, a mysterious girl that can bring into the dreams, this sort of things.

I'm very impressed with the composition: it's hard to maintain the interest and the balance in a so long song, but Inner Prospekt master this art, and you can listen all the 50 minutes with ease. He has found a perfect balance in high and low moments, in "forte" and "piano", and in the density of the arrangement, so that the listener can feel the flow of the music and appreciate all the details and the melodies inside.

Pros: wonderful melodies, great soloing (in Banks style, but not only that as we have hammond too, and flute), complex chords and complex composition, old and new sound togheter (hammond, mellotron, etc, along with drum machines and electro sounds), very groovy songs.

Cons: the recording audio quality isn't exceptional, it's something near a home studio recording, the voice sometimes is weak although the choir work is very good, and I missed the presence of a real drum and real bass. It would be great to hear Inner Prospeks works played by a real band, like Alessandro's Mad Crayon, for example.

The real power of this music is the level of detail: you can listen over and over, and always discover new melodies, new aspects that you've never noticed before.

Five stars without doubt.

 Blue Days by INNER PROSPEKT album cover Studio Album, 2014
3.79 | 9 ratings

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Blue Days
Inner Prospekt Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Alessandro is a crafty little Roman devil! Not content to redefine the classic RPI with his band Mad Crayon, he also explores the thin line between prog and electronica with his Inner Prospekt project. "Dreaming of Tony Banks" and "the Gene Machine" are both stellar musical propositions, offering electronic music done prog style, which means tons of soloing on a variety of keyboard instruments as well as typical prog structure. The pieces are developed, constantly in flux and never droning endlessly. In fact, it's quite vibrant, fresh and audacious, inspired by walking adventures in the mountains, breathless alpine scenery, deep gorges, icecaps, cascading rivers and dense forests.

"Blue Days " lifts off with a blazing piece entitled "High Snow" that actually adds voices (and not vocals) to an avalanche of slithering synthesizers, a gleaming undertow of electric piano that hints at Manfred Mann's classic Springsteen remake "Spirits in the Night", a nice choppy rhythm with a strong beat and a real good sensation. The jazzy feel can even evoke a distant Steely Dan feel that is sublime as the tortuous synth solo sweetly hisses amid the calmer mellotron pools as well as giving off a wintry feel.

The mood becomes quirky with the slippery "Valleys", a 6 minute synth-led piece that has all the rhythmic trimmings down pat, funky prog electronic music all rolled into one, mellotron howls just to remind you that this is definitely a prog rock work and not some fluffy facsimile. The solemn piano testifies to the constant veering into contrasting moods, at first elegantly effusive, then suddenly bombastic, urged on by rolling organ and whistling synth soloing. Thrilling and totally exciting and unpredictable with a minimalistic finale.

"The Path" sounds like some 60s breezy psychedelic affair at first , what with the windswept harmony vocals but when the scintillating synth takes over, front and center , you will be slain. Emanations of Banks, Mann, Bodin and Tillison abound, all dedicated keyboard virtuosos unafraid to take the lead. Alessandro's gravely and accented voice may startle at first but it's a personal testament by an artist that creates music for pleasure. As the title implies, "Sitting Back" is a more relaxed affair, where the atmospherics and the polyphonic rhythms kick in to create a restful excitation, a piano lounge on top of a mountain retreat, a panoramic view and some soothing sounds. Though accessible and jazzy, it's also quite experimental.

"Mrs Braies" relates to one of those 'hidden from the tourists' gems (like my favorite Seealpsee in Switzerland), the Braies valley in South Tyrol is an achingly gorgeous vista of an alpine green lake and its surrounding towering Dolomites peaks. The evocative music exudes a sense of massive grandeur, intense visual beauty expressed with bombastic mellotron waves, a sweeping synthesizer melody and also occasional gentleness.

Brash, jumpy, curious and vivacious just like any true 'bambino' or 'bambina', the final piece "My Child" insists on a vast arsenal of characteristics that keep you constantly alert and on your toes (just like a good father), the various keyboards expressing the thrill of discovery and adventure, the yearning for learning, the sweetness of innocence. Bubbly synthesizers lead the way, child voice effects and a slick rhythmic package keep the buzz alive and kicking. To add some more of a personal touch, Alessandro adds his voice to the blessing.

Every release from Inner Prospekt has been a total delight and I urge all prog fans to check this artist out at innerprospekt.bandcamp.com and see what all the fuss is about. Unless you dislike synthesizers, there is no reason not to give this a spin.

4.5 Azure mornings

 Dreaming Tony Banks by INNER PROSPEKT album cover Studio Album, 2014
4.31 | 16 ratings

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Dreaming Tony Banks
Inner Prospekt Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Inner Prospekt is a sensational solo project by Mad Crayon's keyboard master Alessandro di Benedetti , in a style that is more electronic oriented that Italian prog (RPI) but offers up some incredibly interesting tracks that are modern, fresh and yet infused with a vast amount of soling in a style that is reminiscent of , yes, you guessed it, Tony Banks! In fact, Inner Prospekt sounds a lot like cross between electronic composers William Orbit, Richard Kirk and Banco di Gaia with the added component of frequent piano, organ and synthesizer soloing in the style of the venerable Genesis maestro. Many people I introduce to prog tell me that 'it sounds like a soundtrack' which is not exactly a false claim but when they also say 'it sounds like video-game music', I cannot help but smile! The pieces here are all instrumentals and include a vast array of melodic references that keep everything constantly on the go, so there is no droning/noise electronics that can be so completely annoying! Shifting constantly, voyaging towards new sonic horizons, aided by some slick drum machine parts used intelligently when needed, the music is never dull, boring or forgettable. Quite the opposite really.

The effervescent 'Pinballs' is a bubbly intro into di Benedetti's musical universe, pulsating keyboard runs, swirling rhythmic convulsions and shimmering pace that hooks you right from the onset. The glossy soloing is adventurous, at times playful and extremely creative. One can also detect the influence of one of the greatest underrated artists ever, the legendary Tony Mansfield of New Muzik fame (as well as producing a boat load of other 80s artists), certainly an original innovator of modern synthesized music.

The kaleidoscopic 'Slow Scopes' is an epic dazzler, 12 minutes of syncopated, electronic bliss of the highest order that has the gall to start off with some extended electrified piano, a marimba 'like feeling heard before on Gong's Gazeuse album, the terrific 'Percolations', which slowly evolves into a dreamier state, open piano work that shows the clear virtuosity that Alessandro possesses in spades. Some delightful choir mellotron adds spice and dynamics to the proceedings, bass synth bustles in to push it all along. This shifts into more piano genius, shuffling drums and swirling overhead synthesizers. The process keeps constantly evolving, adding more dynamics to the mix and thus creating a real musical gem. Urban cool, organic yet modern, chic and classy.

Things keep on the same level track with the experimental 'Airing the Flow', an opportunity for some lovely melodies to take shape, all borne from some superb synthesizer tones and sequenced perfectly with unending variety and detail. The synth solo is straight out of Tony Banks' style as heard on his 'The Fugitive' album. Fabulous amount of detail.

The odd 'Gem' is a pulsating beatbox cafeteria, espresso aromas wafting in the air, almost Art of Noise territory. This could follow their 'Moments in Love' masterpiece pretty easily except that Alessandro unleashes a terrific synth solo that yawns, gasps and howls. Ciao, bello!

Appropriately titled 'Internal Clock', this mechanical piece sounds like the rollercoaster that happens within each person, none of which we really hear, save for the heartbeat and panting! If we could hear all our internal organs (Farfisa, Hammond, Yamaha, Wurlitzer and Leslie), I am sure it would kind of sound like this! Pinging, ponging, bubbling, gurgling, popping and swirling! He unbridles a series of ultra-sizzler synth solos, amid the infra cosmic rumble, a real creative mind at work here. There is then a trilling patch that sounds almost like a fuzz guitar, completely unexpected and applause worthy. As I stated earlier, nothing over states its welcome, clearly defining progressive rock characteristics and stamping its credentials with no hesitation.

The extended version of 'White Skies' terminates this amazing program with a nearly 11 minute foray into delectable sounds and amazing motifs. Here, the mood starts off gently, an almost Oriental piano riff augmented with a solid metronome beat which quickly evolves into a nearly classical rendition of some lost symphony, evoking puffy little blue clouds swimming in the white sky, a clever juxtaposition that is shredded by a guitar-patch gale out of nowhere.

Inner Prospekt is a sensational modern soundtrack that will please all progressive electronic fans as well as others who are looking to widen their horizons while still being comfortably numbed by the prog guidelines.

5 Imagining Genesis keyboardists

 The Gene Machine  by INNER PROSPEKT album cover Studio Album, 2015
3.89 | 43 ratings

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The Gene Machine
Inner Prospekt Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Italian RPI band Mad Crayon have been around for decades, their debut "Ultimo Mirragio" being released in 1994, at the same time as bands such as Finisterre, Il Castello di Atlante, CAP and Germinale revived the dormant Italian school with another wave of genius. Keyboardist Alessandro di Benedetti has embarked on a side venture that goes quite a different route, not quite electronic, not quite RPI, that seeks to combine modern tendencies (electronica and drum machines) with an overt Tony Banks styled soloing desire that is not unlike Geoff Downes' brilliant and underrated New Dance Orchestra project, "the Light Program" (1986) being a work of genius. In fact, Inner Prospekt's previous 2014 album is called "Dreaming of Tony Banks", which clearly defines Alessandro's underlying influence.

The 10 minute extravaganza "Human Drone" is a modern urban pulse, throttled forward by a churning mellotron, upon which a wide variety of growling organs, funky e-pianos and wild synthesizers intertwine with utter elation, the e-bass flourishing and the subtle drum machines doing their best to sound 'human'. Toss in voice samplings, electro shifts and rhythmic shudders, as well as some clearly defined melodies (not at all a characteristic of electronica) and you have a piece that just resonates with a future concept of prog. (I still believe that John Foxx holds the throne for the most futuristic music ever made, check out 1980's album Metamatic!) . A complete delight from start to finish and a perfect way to introduce techno-fans into prog, as there are tons of blistering keyboard solos. This is thrilling, exciting and muscular electro-prog that needs a respectful prog audience.

Things just keep on chugging with the brooding "Everlasting", equally 10 minutes long but built around a more serene background, drenched in melancholia and subtly synthesized, a dream-like track that exudes incredible sensations, deep thoughts and endless jubilation. Alessandro rifles his deft fingers across the various ivories with great skill and sublime talent, the piano in particular played with restrained beauty. The bombastic drums get pretty intense and quite creative in marshaling the beat forward or staying in place depending on the need. The final synth solo is marvelous, shades of legends Banks and Manfred Mann, loaded with urgent vibrancy and sheer determination.

This is followed by 4 pieces all in the 6-7 minute configuration, electronic chapters that fit the mood completely. "Mekanodonte" seeks out more mechanical surroundings, a sonic construction site that is architecturally varied but sound in its rhythmic foundation. Then, out of the blue, a Banks-styled synth solo pummels forward, thrilling and romantic, followed by second, more sax-like patch. Keyboard fans will drool all over this stuff, as Alessandro even does a little Middle Eastern riff to keep the sandstorm alive. Playful, moody, pensive and exciting.

"Three Steps Ahead" is perhaps slightly different, adding some haunting vocals as well as a dream-like atmosphere that is hard to pinpoint. Probably the most accessible track on the playlist. The slightly more physical "Bodies" showcases a rather peculiar orientation towards combining jazzier stylistics with a funkier backdrop and then suddenly evolving into this extended cosmic drone, a return to shuffling drums and a synthesized crystalline sheen that is jaw dropping as if Kerry Minnear met David Sancious! Subtle and concise, the bass keyboard work being stupendously overt and the mood unsettling.

The disc ends on an appropriately extraordinary note as "A Red World" fully encompasses the musical genius at work here. A forlorn piano reaches out, heartfelt and seductive, spoken word samples adding to the dream. The temperament is much more experimental at first and just blooms into a stately hymn that is utterly gorgeous, diaphanous and fragile. Colossal waves of mellotron introduce e-piano squalls, synthesized eddies and a choral explosion that will take your breath away. Certainly one of the most evocative pieces I have heard in years.

This was a most pleasant surprise and a thrill to get included into our site, a most worthy addition. Stunning cover artwork from Anastasia Sichkarenko makes this a commendable download for any prog fan.

5 protein sequence engines

Thanks to tszirmay for the artist addition. and to NotAProghead for the last updates

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