4. The Showdown 20:16

5. Young Me, Old You 11:20

6. La Resa dei Conti (bonus) 20:21



*** UPDATED Booklet in High Quality (04 march 2023)

Inner Prospekt is a musical project by
Alessandro Di Benedetti
(keyboards and samplers, vocals, drums)

This time with:
Rafael Pacha: 12 strings guitar, electric and classical guitar,
viola da gamba, piccolo flute, fretless bass, zyther and mandolin (2, 3, 5)
Federico Tetti: electric guitars (4, bandcamp bonus)
Carmine Capasso: electric guitars (1, CD bonus)

All Music and Lyrics Alessandro Di Benedetti

Cover art: Giuseppe Carlo Militello "Ipergatto" (Oil on Canvas 2016)

Booklet design: Alessandro Di Benedetti

A very special thanks to Giuseppe Militello for his marvellous cover art,
my friend and producer Jose Manuel Medina of Somnus Media
and the straordinary musicians Rafael Pacha (The Guildmaster, The Samurai of Prog), Federico Tetti (Mad Crayon, The Samurai of Prog), and Carmine Capasso (The Trip, The Samurai of Prog) for their precious contribution.

Recorded at the Inner House, Rome 2021


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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.

Thomas Szirmay
Progressive Archives


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DPRP.net - Jan Buddenberg 8/10

One year after Grey Origin, Alessandro Di Benedetti, the mastermind behind Inner Prospekt, returns with a third instalment in his Canvas series, aptly titled Canvas Three. For regular DPRP visitors, Di Benedetti should no longer be in need of an introduction as his credentials speak for themselves through his prominent contributions to albums made by for instance The Guildmaster and those released over the last few years by The Samurai Of Prog. Those who still require an introduction please read on.

As the composer of personally-favoured songs A Queen's Wish and The Knight And the Ghost, from TSOP's The Lady And The Lion and The Guildmaster's The Knight And The Ghost respectively, I was pleasantly surprised to find out that these wonderful songs were also featured in alternate versions on Inner Prospekt's Canvas Two. With the simultaneously discovered Canvas One pushing the gage of my "prog-o-meter" to a position of joyous satisfaction, it is now the pleasant Canvas Three that spins the needle firmly into levels of comparable gratification.

Like on Canvas Two, Di Benedetti (keyboards, drums, vocals) is accompanied by a small group of participants, which this time includes Carmine Capasso (TSoP, The Trip) and Federico Tetti (Mad Crayon) on guitars and Guildmaster-companion Rafael Pacha on a small arsenal (by his standards) in the form of 12-strings and electric guitars, viola da gamba, piccolo flute, fretless bass and zyther.

Together they deliver over an hour's worth of magically-shaped symphonic prog which will once again delight those in favour of TSOP. Out of the six compositions, five have previously appeared on various of their albums. Six out of seven if you take into account the Bandcamp-only bonus track La Resa Dei Conti, which is the Italian version of The Showdown as featured on The Spaghetti Epic 4.

The album instantly attracts with the excellent Scratches, a song previously appearing on TSoP's Omnibus II as Take Me Down. Expressing a less-dense and more openly structured framework than TSoP's version, this exhibits a distinct feel of Genesis thanks to the song's bridge which is elevated by outstanding guitar work from Capasso that brings Hackett to mind, as well as Di Benedetti's close vocal resemblance to Gabriel. Add to this some lovely Tony Banks-inspired, keyboard-dominated movements, and a graciously-sensitive layer of bass, and the overall yield is a wonderful symphonic exercise that breaths a smooth and enjoyable Seconds Out mindfulness.

All subsequent compositions show a similar openness and lighter approach in structure and arrangements as compared to the various TSoP variants. This gives all of Canvas Three's renditions a different kind of feel, elegance and expressiveness.

In The Island Of Despair, this results in less intensity and drama, also partly due to Di Benedetti's lesser expressive strength in comparison to Bart Schwertmann (Galaxy) whose compelling performance brought character to the version as found on Robinson Crusoe. But by no means does this have any bearing on the overall outcome, for once again the song excels through its beautiful, undulating (synth) melodies, refined classical piano play and fairytale enchantment from flute and touching violin. To top it off, a final touch of Pacha's electrifying guitar-work almost makes you forget Hackett's original contributions.

A Wordless Fable, entitled Searching For The Fear on TSoP's The White Snake, follows and does full justice to its former enchanting glory. Provided with moments of steamy organ and lovely intricate bass melodies, Di Benedetti shows in this richly varied song that he is not only a gifted composer and talented keyboardist, but also an excellent percussionist. I'm almost lost for words to describe the song's beautiful symphonic narrative.

The subsequent The Showdown is the perfect illustration that although the songs are all taken out of context of their original storytelling album, this cohesive compilation of songs on Canvas Three turns out to be just as mesmerising. Less-suspenseful than The Spaghetti Epic 4 version, The Showdown's cheerful melodies as before ignite memories of comical western movies and revisit the many blissful musical realms still mindful to Genesis.

Yet, surprisingly, this version reveals a delightful symphonic touch during the song's intricate fairytale bridge which shies away from Camel influences and brings forth visions of symphonic Grobschnitt from the mid-seventies, which to me attracts like pure magic. Treated with subtle rerecorded and remixed musical changes, the Bandcamp-only version of the song shows closer proximity to TSoP's version courtesy of the Italian-sung lyrics. To this day I can't decide which version I prefer.

One version I do prefer is Di Benedetti's own interpretation of Young Me, Old You from Guildmaster's Liber De Dictis. Initially fragile and breakable with elegant musical simplicity as acoustic guitar and flute allure, it's the elderly voice of Di Benedetti resonating with the warmth of Gabriel and Ian Anderson that makes this opening passage stand out. Closely followed by the soothing jazz-inspired movements which are smoothly taken by the hand and gradually bristle with increased life from stunning intertwining musical maturity and youthful emotional vividness. Touchingly decorated by Pacha's majestic guitar work, this is without doubt a stroke of sublime perfection on the album.

The last song on the album, The Lizard Tale, exhibits a more pop-inspired, up-tempo approach mindful to Genesis, with Di Benedetti's voice shining brightly in the spirit of Chandelier's Martin Eden.

Simply rephrasing an earlier statement, the sole conclusion is that Canvas Three is again a marvellous demonstration of Di Benedetti's exceptional compositional strength. Formulated by adventurous songs that show inventiveness, creative arrangements and masterful executions Canvas Three is therefore a highly recommended effort worth checking out for fans of symphonic/progressive rock. For those admiring the various Samurai Of Prog-projects that Di Benedetti partakes in, I'd go one step further and state this to be an essential purchase. I look forward with high anticipation as to what Di Benedetti's fourth canvas will bring.

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Lazland.org - Steve Lazenby


Alessandro di Benedetti, keyboardist with Mad Crayon and collaborator on a number of projects, has been releasing albums under his Inner Prospekt project for nine years now, and is a personal favourite of this website. Last year’s Grey Origin was superb, and you can read my review by clicking on the button below.

2023 sees Alessandro release the third album in his Canvas series, collections of songs originally written for Samurai of Prog and The Guildmaster. On this album, the multi-instrumentalist is joined by bandmates Rafael Pacha on guitars, viola da gamba, piccolo flute, fretless bass, and zyther, and Federico Tetti & Carmine Capasso on electric guitars. The gorgeous and sumptuous cover art is provided by Giuseppe Carlo Militello.

Scratches starts us off, originally composed for The Samurai of Prog on "Omnibus 2" (2021) with the title "Take me Down". This funky jazz infused number is very reminiscent of Flower Kings output and fans of that august outfit will find much to enjoy here. Two minutes in, there is a wonderfully warm keyboard solo followed by a deep bass groove leading into an evocative guitar solo. This is a very strong opener.

The Island of Despair was originally written for Samurai of Prog Bernard & Porsti’s Robinson Crusoe. The musical storm which opens (taken from 2016’s Inner Prospekt Ocean Suite) sets the scene magnificently of that Dafoe classic, with our hero shipwrecked, and I enjoy the lyrics which evoke that truism of the sea as the sailor’s mistress, which can be a fickle partner, destroyer as well as lover. At the conclusion, Crusoe has no idea at all where he is. Musically, this is a very pleasing melodic number which evokes very nicely that sense of loss and confusion, especially the beautiful piano solo and voices which enter in the aftermath of the storm leading into a mournful string and piccolo flute section which itself segues into a guitar solo which cries to us.

A Wordless Fable follows. It is simply beautiful. If I hear anything quite as lovely as this instrumental epic in 2023, I would be astounded. Originally written for The Samurai of Prog’s The White Snake, this is over eleven minutes of pure musical joy. From the opening notes of Pacha’s acoustic guitar, you are drawn into a musical pastiche which delights. I have embedded the track below. The music brings us a sense of wonder, of mischief, adventure, danger, curiosity, just about the full gamut of emotions without needing to speak a single word, although there are some lovely female voices crying to us. Viola, a powerful fretless bass, light percussion, flute, rich synths, and the most sumptuous guitar work. I can guarantee that readers clicking on this track below will experience something special and take their own meaning from a story which needs no lyrics to delight.


The Showdown is great fun. Originally composed for The Samurai of Prog "The Spaghetti Epic 4" (2022) with the title "La Resa dei Conti", this itself comes from the English translation The Big Gundown, a Sergio Sollima “spaghetti western” film from 1967 starring the incomparable Lee Van Cleef, familiar to those of us who are western fans of a certain vintage brought up on The Man With No Name series of Leone & Eastwood. There is a huge treat on the final (bonus) track of the album on Bandcamp, jumping ahead here, where you can hear this piece sung in the most beautiful spoken language on the planet, and, in fact, I prefer the Italian version. The track is twenty minutes long and never once outstays its welcome. Sit back, allow the music to wash all over you as you are given the tale of a bounty hunter’s final mission, from the opening delicate piano and lush flute, separated by the gun firing, right through to the final parting of the way of our “heroes”, with some of the most evocative music you have the pleasure of hearing. If you love Italian progressive music, this is a must. If you are unfamiliar with it, here is your chance to become hooked.

Young Me, Old You, the final track on the Bandcamp digital release, was originally composed for The Guildmaster album Liber de Dictis. It is a very reflective piece looking back on one’s childhood, but also lamenting the modern way of allowing children to grow up without experiencing the joy of innocent childhood pleasures in real life, instead growing up with avatars and digital “experience”. This is a very clever, knowing, song (especially when it talks of being linked forever with loved ones no longer with us) with some touching vocals leading gorgeous guitar, wind, strings, and piano.

The Lizard Tale, a relatively short five-and-a-half-minute track, the shortest on offer, is available on the CD version of the album only. Who does lizard trust? This is a satisfying fable set to music.


All art is a blank canvas upon which the artist(s) prepare, build, and present their craft, a story of pictures, words, music, poetry, prose, those cultural imprints which make life so much more than a chore, or something to be endured in the daily grind of work. di Benedetti is an artist, and his music enriches my life and comes very highly recommended to you.

Canvas Three is an experience. Immerse yourself in its beauty. You will, I guarantee, see, and hear something different, no matter how subtly, each time you return to the finished product.

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MLWZ.PL Artur Chachlowski:

Alessandro Di Benedetti works in the Italian group Mad Crayon on a daily basis (they have four albums to their credit), and as a soloist (publishing under the banner of Inner Prospekt) he has already released over a dozen (sic!) albums. Admittedly, I haven't seen his earlier work. Not only that, Alessandro realizes himself in side projects, for example in The Guildmaster or The Samurai Of Prog, in which he is one of the composers. Anyway, I've never been a die-hard fan of his music, and I haven't followed his next musical works. Only now I got my hands on the album "Canvas Three" released this year, again under the banner of Inner Prospekt and, to be honest, I liked it so much that I decided to write about it on our website. It would be a pity if the Polish prog-rock community missed this release.

Has anyone here mentioned The Samurai Of Prog? Almost all the compositions on the album "Canvas Three" were originally composed for the needs of subsequent albums of this project. Of the six compositions, five had previously appeared on different albums. Even six out of seven if you consider the bonus track "La Resa Dei Conti", which is only available on Bandcamp.

All recordings on the disc are kept in the best tradition of symphonic rock of the 70s and were finalized with the participation of several experienced musicians. They are Carmine Capasso (of The Trip) and Federico Tetti (of Mad Crayon) on guitars, and Rafael Pacha (Guildmaster) on 12-string guitars, viola da gamba, piccolo and fretless bass.

The "Canvas" series seems to be a springboard with which you can jump into the rich output of The Samurai Of Prog project. A lot of publications appear under this banner on a regular basis and it is easy to overlook the most important things. The "Canvas" series is to give some compositions a new life. Or let them be rediscovered.

"Canvas Three" is a melodic, classicizing, perfectly arranged and well-produced album. Details in a moment, but at the very beginning it must be emphasized that Alessandro Di Benedetii masterfully combines in his works pastel keyboard, including mellotron melodies inspired by the work of Tony Banks with synthesizer momentum in the style of Rick Wakeman. Yes, these two outstanding progressive-rock music creators I "hear" most often in Di Benedetti's music.

The whole thing starts with "Scratches". This is a song originally composed for The Samurai of Prog. Subtly saturated with funky jazz, the number is very reminiscent of the output of The Flower Kings. It's a very strong start. It lasts 8 minutes and, not counting one bonus track, it is ... the shortest track in this set.

"The Island Of Despair" is a composition in which we hear a real cascade of beautiful pastel sounds and fantastic instrumental parts, especially the piano solos, synthesizers (there is a moment when it seems that Keith Emerson is crazy about them) and mellotrons , against which the sections of string instruments, flutes and vocals are conducted, make a great impression and, together with numerous changes of moods and a finely played guitar solo in the finale, create a beautiful spatial musical landscape.

"A Wordless Fable" is an instrumental epic originally written for The Samurai of Prog's album "The White Snake" (it was titled "Searching For The Fear"). That's over eleven minutes of pure musical joy. From the first notes of Rafael Pach's acoustic guitar, the listener is drawn into a musical paradise. Music gives us a sense of a rich range of emotions without the need to say a single word. No words are needed in this case...

Time for the best composition on the album in my opinion: "The Showdown", which is 20 minutes of phenomenal music (originally composed for The Samurai of Prog for the album "The Spaghetti Epic 4"). Camel, Genesis, The Moody Blues… a long list of inspirations. There is a truly symphonic momentum here, and the calm, almost blissful, inspiring melodies scrolling one after the other become more and more beautiful, and even hypnotic. Words cannot describe everything that happens in this composition. And there's a lot going on, and really exceptionally beautiful...

"Young Me, Old You" - the final track on the album's core program - was originally composed for The Guildmaster's album, Liber de Dictis. It is a very reflective song, which in its lyrics talks about looking back at one's own childhood, but also about regret for the modern world where parents allow children to grow up surrounded by "attractions" from the virtual world. It's a very clever and charming composition with a moving and wonderfully interpreted text, against which we can hear great-sounding guitar, wind instruments, strings and piano.


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TPA - The Progressive Aspect
John Giordano

If Genesis and Banco had a baby, it would probably sound a lot like Canvas Three. Right out of the gate, the early to mid-period Tony Banks influence attaches to the proceedings like a heavy cologne. Even still, the grandiosity and melodic complexity of the venerable Italian prog gods is never far away. As if acknowledging the two main influences, Di Benedetti’s voice is eerily similar to that of fellow countryman Simone Rosetti, who makes a living projecting Genesis into the twenty-first century with The Watch. In addition to the vocals, all the keyboards, drums and compositions are courtesy of Di Benedetti, and what a fine job he does with each. All of these songs were originally composed for other artists (including Samurai of Prog) or projects (The Spaghetti Epic 4), but here Di Benedetti takes the helm and fleshes out his own vision.

Scratches begins the proceedings, sounding like a track that wasn’t able to fit on to Trespass back in the day. Lush and dramatic, the spirit of Mr. Banks is everywhere. What truly elevates the song, though, is the guitar work of Carmine Capasso (also a Samurai sideman). He adds colour and depth without ever sounding like a Hackett clone, which is impressive in itself. Capasso’s leads are bright and unfussy, never in competition with Di Benedetti’s starring role as keyboardist. Even the drums have a keyboardist’s touch, rhythmic and flowing and always connected to the melody. A plethora of synth sounds dance around and over the beautifully rendered piano, organ and Mellotron. Scratches is a magnificent omen of all that lies ahead.

The first of three eleven-minute-plus epics arrives in The Island of Despair. Piano flourishes underpin a charming orchestral introduction which all too quickly gives way to a more driving Get ‘Em Out By Friday, influenced vocal section. Telling the tale of a shipwreck from a sailor’s viewpoint, the despair and loss of hope are captured evocatively in the music, particularly in the acoustic piano interlude midway through the song. The subsequent return of the string arrangement serves to heighten the sense of sadness. Multi-instrumentalist Rafael Pacha (The Guildmaster, Samurai of Prog) adds sensitive soprano recorder and viola da gamba parts which contrast nicely with the thick tones of his electric guitar. Banks’ fingerprints are all over the expansive storytelling, down to the ambiguous ending (“Where are you now? Where am I now?”) which mirrors the calming instrumentation that closes out the song. Has the sailor found peace in drowning, or has he been saved?

A Wordless Fable is eleven minutes of instrumental beauty. Sumptuous classical guitar, courtesy once more of Rafael Pacha, gives way to zither and more orchestral keys before yielding to a lively viola/synth dance. Just as quickly, the organ pushes the other instruments out of the way, only to succumb to the return of the joyous viola. Every thirty seconds or so the music changes, even giving the fretless bass a featured interlude. So many ideas come and go over these eleven minutes, but the juxtapositions are never jarring. Each section, no matter how different from its predecessor, feels like a natural successor, a testament to the compositional skills on display here. The blending of the keys and guitar here is sublime. Unlike Capasso’s lighter touch on Scratches, Pacha is not afraid to flex his muscles. At times pastoral, other times menacing or reveling in joie de vivre, this piece is an astounding tour de force. It almost defies belief that two men were responsible for the sheer number of sounds on display in this track. Pacha in particular earns his paycheck on this one, dazzling on every one of the nine instruments he performs on.

Rather than take a breather, a sense of foreboding introduces the twenty-minute The Showdown. The piano chord progression is eerily evocative of Mountain’s Taunta/Nantucket Sleighride, and I mean that as high compliment. Two minutes in, a sparkling, upbeat rhythm takes over, paving the way for a tale of bank robbery. The Banksisms continue to pile high, but the rubbery bass playing of Federico Tetti (Mad Crayon) gives Di Benedetti a run for the money with his slippery leads. While the vocal sections are largely carried along on the same melodic structure, the instrumental intervals are where the two musicians really shine. Introspective guitar parts float above the electric piano during the mid-song break, offering a striking divergence from the rest of the song. Lyrically, the song is a tad opaque, again tending toward ambiguity. Here’s a sample lyric:

“And in a moment that all the hopes
And all the lights will never be
I get the clearance to the final race
Unless you set me free.”

When the vocal section concludes, the song comes full circle, hearkening back to the intro before it is embellished with wordless vocals, rhythm guitar and a synth solo lifted straight from 1975. A Mellotron choir sends the epic home in grandiose fashion, with the final sound being that of a bullet implying the death of the song’s protagonist.

Gentle classical guitar provides the foundation for Young Me, Old You, the story of someone reminiscing about her close childhood connection to her grandfather and his tales of how, during the war, he sought refuge in a cave. The child, shy and afraid, finds solace there too. The sense of nostalgia rife with regret is palpable in both the music and lyrics.

“My little bare hands on the keys
The old piano with the silver frames full of memories
My grandpa at my side with his old voice singing forgotten melodies.”
The song is incredibly moving yet never maudlin. It brought to mind my own Italian grandmother regaling us with stories of her life in Italy that she relayed when I was but a child myself. That ability to transport one back in time is a gift indeed.

The CD concludes with a bonus track unavailable with the download. Float Away is different from the rest of the album in that the guitar carries the song, the keys playing only a supporting role. This song is the closest the album comes to rocking out, giving the drums a very prominent place in the mix. Capasso’s guitars avail themselves of the opportunity to all the tonal colours and muscle they can. It’s a great way to end the album, reminding the listener of Alessandro Di Benedetti’s depth and breadth as a composer, vocalist and instrumentalist.

For those who order the Bandcamp download, there is a version of The Showdown sung in Italian.

Inner Prospekt’s Canvas Three is the sort of album that will find a home in the ‘heavy rotation’ section of my library. If you enjoy the gorgeous pastoral sounds of early Genesis and the drama of the Italian progressive bands, then I believe you will agree, Canvas Three is one of the most delightful releases of what is already shaping up to be a banner year.

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Prog censor

Inner Prospekt
Canvas Three
crossover progressif – 88:34 – Italie – 2023

Derrière Inner Prospekt il y a les compositions du seul Alessandro di Benedetti qui assure aussi la voix, la batterie et les claviers. Il complète le line-up de chacune des 7 pistes avec un seul guitariste, formant 7 duos avec Rafael Pacha (collaborateur des Samourai), Federico Tetti (Mad Crayon) et Carmine Capasso (The Trip, dont nous chroniquions l'album solo fin mars).
Prolifique, (13 albums Inner Prospekt depuis 2014!... plus Mad Crayon), Alessandro participe aussi aux albums des non moins prolifiques, Samouraï of Prog ou de «The Guildmaster» en leur offrant de superbes compositions; ainsi on a déjà pu entendre «Scratches», «La Resa dei Conti» ou «A Wordless Fable» sur des albums des Samouraï dans des versions différentes. «The Island of Despair» se retrouve ainsi sur un album de Bernard & Porsti (2/3 samouraïs), et enfin, «Young Me, Old You» chez The Guildmaster, ces «groupes» mettant en commun leurs savoir-faire dans de très nombreuses productions prog de qualité.
Pour compléter la playlist de l'album comme «Showdown» est la version anglaise de «La Resa dei Conti», «Lizard Tales» reste, à proprement parler, la seule piste originale de l'album!
Mais qu'importent les ingrédients, la seule chose qui compte, c'est le résultat et le plaisir qu'il procure. Et là, on est servi. Généreusement.
«Canvas 3» est une merveille pour qui comme moi apprécie le prog mélodique. Dès la 1re piste «Scratches» on est captivé par une verve génésienne; pour mémoire le 1er Inner Prospekt s'intitulait «Dreaming Tony Banks»! Même la voix peut faire penser à Phil Gabriel (ou Peter Collins 😉. Mais il est trop réducteur de limiter cet album à cela, d'ailleurs l'intro du splendide «Island of Despair», plutôt wakemanienne, est suivie par le souffle d'un Bernstein, pour revenir à un Genesis '80. Et les jumeaux «La Resa dei Conti» et «Showdown» s'ouvrent au grand piano, classiques, romantiques quand la flûte arrive. Mais ces epics de 20 min ne nous laisseront pas une minute de répit car des gênes RPI viennent dynamiter tout cela. Réjouissant!
Allez vite savourer cet album INDISPENSABLE!
++++


Canvas Three, Symphonic Progressive Rock at its Finest

Progressive Rock Central.com

Angel Romero April 27, 2023
Inner Prospekt – Canvas Three (Somnus Media, 2023)

Canvas Three, the latest release from the talented composer Alessandro Di Benedetti’s musical project, Inner Prospekt, showcases over an hour of superb symphonic progressive rock. The album features six compositions, including five that have previously appeared on various albums by The Samurai Of Prog. The album is a collaborative effort with a small group of participants, including Carmine Capasso (Italy), Federico Tetti (Italy), and Rafael Pachá (Spain).

The primary inspiration behind the album is unequivocally the progressive rock era of Genesis. Alessandro Di Benedetti’s musical arrangements and instrumental performances are masterful and splendid, encompassing a diverse range of keyboards such as the exquisite grand piano; dazzling synth solos; colorful organ; magnificent Mellotron layers; and neoclassical orchestral arrangements that are gorgeous and majestic. Additionally, Di Benedetti is a remarkably talented vocalist who delivers outstanding performances that draw inspiration from Peter Gabriel.

Although Di Benedetti’s work is deeply influenced by Tony Banks, one can also discern traces of Keith Emerson and the renowned Italian bands of the 1970s in his compositions. Moreover, the album boasts of several distinguished guests who deliver stellar performances. For instance, Spanish multi-instrumentalist Rafael Pachá contributed an array of influences that have enriched the album, including epic prog rock guitar, southern Spanish influences, Medieval and Celtic sounds, and fusion-style fretless bass.


While the CD version of the album comprises six tracks, the Bandcamp version features an additional seventh track, an awe-inspiring 20-minute epic piece titled “La Resa Dei Conti,” which is a true manifestation of musical euphoria, similar to the rest of the album.

Alessandro Di Benedetti is a highly accomplished musician and composer, having founded the Rock Progresivo Italiano band Mad Crayon, composed for The Samurai of Prog and The Guildmaster, and founded his solo musical project, Inner Prospekt. For Canvas Three, he is joined by a talented group of musicians who contribute to the album’s depth and richness. Rafael Pacha provides the 12-string guitar, electric and classical guitar, viola da gamba, piccolo flute, fretless bass, zither, and mandolin (2, 3, 5), while Federico Tetti and Carmine Capasso provide admirable electric guitar work.

The cover art, created by Giuseppe Carlo Militello, titled “Ipergatto” (Oil on Canvas 2016), is a fitting representation of the album’s artistry and sophistication.


Inner Prospekt Discography

THE MUSING (2014)
DREAMING TONY BANKS (2014)
BLUE DAYS (2014)
THE GENE MACHINE (2015)
DEEP GHOSTS (2016)
OCEAN SUITE (2016)
MAN IN BLAKE (2016)
SEVEN WAYS TO LOSE YOURSELF (2018)
CANVAS ONE (2020)
CANVAS TWO (2021)
GREY ORIGIN (2022)
CANVAS THREE (2023)