RETHINK

Alex Carpani was anointed with my favourite release of 2024 with his stately "The Good Man", a sizzling initiative which collected rave global reviews. Here Alex is backed up by the legendary Gigi Cavalli Cocchi on drums and Jacopo Rossi on bass. This is a follow up to their precious work, the self-tilted debut in 2018 and very much in a more energetic vein than the more symphonic concept style of Alex's solo material.

We plunge right in with the obligatory intro "The Dive", wasting scant time in getting the motors oiled up and properly lubricated for the full-bore throttle on "A Distant Cry", a brief but deadly surge, where both the propeller bass and explosive drums convey a sense of navigating the choppy sea, yearning to reach a faraway siren, beckoning our three mariners onwards. Alex sings forcefully, fingering the metallic keyboards (there are no guitars on the album!) with deft insinuations that really hit the mark. The sweeping "Life is Calling " is led by a rampaging bass line that takes no prisoners, Gigi gleefully pushing the percussive narrative, while Alex croons masterfully. The keytars get hot and heavy, brittle sonic prosciutto crispier than your ex's ego, a reality check of sound that packs a mighty punch. Being a bass fetishist, I must say that Jacopo really affects my fascination for the low-end of sound. This modern track is courageous, clean and commanding.

Showing no desire to veer into any calm pool of reflection, "Meet Me at the End of the World" keeps the pedal to the hefty metal, a raging missile heading for some future apocalypse. The ingenious inclusion of an almost rap narration (heavily prog though) comes as a revelation, within an expertly sung verse and chorus , a rather unique desire to stretch the boundaries, which is what prog was really about in the first place. The roller coaster ride gets dreamy just long enough to switch gears and turn on the turbo traction. The bass leaps out again bopping with superior authority, as if unclear whether the end of the world is heaven or hell. Perhaps a no man's land awaits us all, which would be perhaps a rightful punishment for our inability to live in harmony with the world around us. "The Wait is Over" possesses a hint of psychedelia (the Beatles come to mind) but lathered with a contemporary sheen that also finds the need to include all kinds of experimental bits (The latter Beatles again), especially vocally. The atmosphere does arrive at a harder edge , as the track approaches the finality described in the title. Back in the leathered seat with the steering wheel firmly in hand, "Drive My Soul" accelerates into the forceful combustion that encompasses all the facets of this album, the powertrain bass meandering between the convulsing cylinders (the drum work is exceptional) as Alex supplies all the bodywork needed to make this machine discover new frontiers for the mind. On the vocal front, both the lead and the tremendous backing vocals are world class, both urgent and heartfelt. 'Sliding on a rainbow', indeed. Definitely, prog radio material.

Adding a little axiom to the reality, "Life is Too Short" last a bit over 3 minutes but suggests a rather haunting voice- led electronica which does not distract from the main sound philosophy, obvious within a few seconds as Alex revs up the crew for another run on the pavement of existence, offering all the obligatory shifts of fortune that we must all bear. 'Taking us to a place where you are waiting passionately', the gentle flow of "Fly Over Me" is only a temporary moment of reflection, as this trio just has no interest in floating in ambient space, keeping the flame of urgency and re-evaluation firmly in place. The keyboard-sourced keyboards convey all the power needed to keep the blood pulsing through the body, a cardiac massage of incredible sounds and relentless rhythmic propulsion. The synth solo seals the deal. Dense electronics greet the ears, laden with voice effects not too distant from Deep Forest though "Soulshine" inevitably swerves into that foundational pulse that cements the entire production. On this, the longest track here, Alex sings passionately (Is there a more Italian trait?), a highly inclusive listening experience that encompasses all the attributes mentioned previously, the synthesizer folly and the outro proving that this is a well thought out project and can inject modernism into classical prog realms . Introduced by a beastly drum that would make John Bonham smile from his stairway to heaven, "Run as the Sun Goes Down" reignites the powertrain, pistons generating all the strokes needed to keep this sonic vehicle firmly adhering to the road, Pirelli tires aiding in the project. The luminous electronic backdrop interfaces with the burly bass attack and Gigi's unrelenting throbbing, another winning lap on this aural circuit. Should not come then as any surprise that "Messiah" will offer the final reflection, a moody lament that should consecrate Alex's vocal abilities as he simply crushes this checkered flag victory, confident that his instrumental skills can now be on the same podium, where the champagne can flow freely, Jacopo and Gigi spraying each other with the finest bubbly. Exceptional ending to a brilliant , off the beaten path album, with a gorgeous cover and devastatingly accurate sound.

Exhausted, ears firmly buzzed and utterly content, it is time for a well deserved 'pisolino' (nap for you non-Italians) 5 reappraisals

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