released April 4, 2024

A very special thanks to 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), Marco Bernard (Samurai of Prog), Daniele Vitalone (Mad Crayon) and Carmine Capasso (The Trip, The Samurai of Prog) for their precious contribution.

Carmine Capasso uses Liuteria Capasso Guitars and Alan Entwistle Pickups

Recorded, mixed and mastered at the Inner House, Rome 2022-2023


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)
UNUSUAL MOVEMENTS (2024)

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PROG ROGUE 5/5

By Thomas Szirmay

INNER PROSPEKT (ITALY) Unusual Movements

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 sadly 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 smoky 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


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Lazland.org

I was thinking the other day that it might be an idea for this website to set up a “Hall of Fame” slot. Not the type of corporate “Rock ‘n Roll Hall of Fame”, or the Nashville thing, but a celebration of all music and artists which have profoundly moved me and influenced my writing over the years.

I have a deep love of the Italian people and their culture. I was, of course, familiar with classic artists such as PFM & Banco over the years, but appreciation of the wider scene took far longer. It took me a long time to write any serious Italian prog review, but looking at my collection tonight, Italian music is second only to English in a cast of thousands.

In any such Hall of Fame, Inner Prospekt, the artistic vehicle of Allesandro di Benedetti, would have to be included. His work is everything I love in my music. Intelligent, imaginative, telling stories, moving, and Unusual Movements, available on Bandcamp at innerprospekt.bandcamp.com/album/unusual-movements is the thirteenth album in this series. It might just be his best.

The album is over an hour long, with seven tracks, alongside a bonus on the digital version. A word first about the cover. Minimalist, a bench set against the infinity of the universe and the backdrop of our beautiful planet (despite our worst efforts), a scape which has you thinking before you even hear a note.

There are guests who have helped Allesandro to create this work, and they are discussed in each individual track below.

So, to what we get on an essential musical journey.

The Bridge is our introduction, composed for The Samurai of Prog, featuring Federico Tetti on guitars and Daniele Vitalone on bass, who produces an instantly groovy melody set against Di Benedetti’s keyboards before Tetti produces a memorable guitar solo leading into a playful piano and keys. As an introduction, this is hard to beat, and it is embedded below.

This is followed by Mantra, a repetition of a statement, in this case “everything will be fine” commenting on those days of the pandemic amidst so much uncertainty. It is the first of three epic tracks here (and the longest at just over fifteen minutes), and again has Tetti on guitars alongside Giuseppe Militello on sax. I love the effects that illustrate indoor pursuits to begin and the mournful notes accompanying before a jazz-infused improv takes precedence, at once pretty and questing. The vocals when they arrive encapsulate the mood of the time perfectly, and the sax complements it with a deeply reflective segment of music. We spent a lot of time looking deeply into ourselves, with collective fear abounding. Even in the deepest depression, I/You say all is going to be fine. What a time to experience, and I will add here that the mantra itself is perfectly put across musically by a deep mellotron and distorted notes at the ten-minute mark, Tetti shows his class with an angry riff, the emotions here swinging as wildly as they did for us before the track segues into its fundamentally mournful reflection.

Winter Day is brilliant, a theme which resonates with me ever so strongly, that of a father writing to his son to apologise for the legacy our generation has left them, but also how he had failed to reveal the evils of man by being overprotective, and he seeks forgiveness, perhaps as a final act. Musically delicate, Marco Bernard provides a beautiful bassline, the vocals are achingly lovely, the orchestration searching. It is embedded below. I would quite happily have had another twenty minutes of this, and if I hear anything more beautiful in 2024, I will be astounded. Is it too late for our and our parents’ generation to make things right? I hope not.

Neverland is the second epic track and was composed for Marco Bernard’s debut solo album referencing “the boy who never grew up”, but there is a fascinating dark twist on this reimagining the eponymous island as a kingdom of the dead. That is what I love about the music we listen to, this type of reinterpretation of classic tales which also parallel our darkest nightmares or thoughts. Instantly noticeable and appreciated are the acoustic guitars, and the initial playful nature of the island, but the clever invitation to “my friends” to leave their life and join the island of lonely souls brings on that darker hue, and the orchestration, especially the flute, brings that to the mind very well. The bass melody and the urgent keys and percussion take us away from a symphonic sound to a more jazz infused musical play, and the extended guitar solo by Rafael Pacha when it arrives takes us to another level, with the track expanding into a symphonic burst of noise before we are taken down into the quieter and darker afterlife so cleverly. This is just about the epitome of modern progressive rock, a whole piece of music telling its story crystal clear with depths revealing themselves each time it is put on.

Just Five Minutes is, in fact, over seven minutes long and Militello especially provides such a smoky sax to lead a gorgeous jazz number infused with the spirit of the finest metropolitan Italian live bars, Pacha lovingly teasing Allesandro’s brushes. A track to be played with the finest beer or wine, dreaming of a life which should never come to an end, and, God willing, never will. The final ninety seconds simply take you to a different existential plane.

Around the Corner references something I think about often (I hesitate to say great minds think alike, because I only write about a great mind’s creations), and that is an adult looking back at one’s childhood self, understanding what made the adult in the formative years, and I will make a bold statement that this is up there in these terms with one of my all-time favourite tracks dealing with the same theme, Gabriel’s classic Family Snapshot. It is the final epic length track we have, and the most noticeable thing that strikes you is the gorgeous pastoral orchestration, simply breathtaking in its execution in the opening passage, before after two minutes the jazz influence asserts itself and the vocals tell the story in which I picture myself looking at my vulnerable and often unhappy child self from the top of the room before we get such a lush passage dealing with the essence of childhood, a nigh on perfect mix of the folk, jazz, and symphonic (Tetti’s guitar solos would grace any classic progressive rock album, and Alessandro certainly takes his piano cue from Banks) as you are likely to hear. I have embedded this incredibly beautiful and moving track below. It is worth the album fee on its own.

The Question is another introspective track with the subject demanding to be left alone to confront his inner demons and wanting to find answers to the deepest questions of how to protect and love. Carmine Capasso provides some haunting guitars, but Di Benedetti highlights why he is such a talent. Understated and fragile voice, piano which searches the soul, and effects which both move and ask questions of the listener. A piece of music which is unparalleled in its ability to move you, right up to that tiny, but ever so evocative, tap on the side of the drum at the end.

The bonus track is Living Like A Looner, a revisitation of the themes of Neverland.

I read an interesting article today in The Spectator magazine I subscribe to which essentially said that no band or artist wishing to be successful describes themselves as “prog rock”. I might well quote it in my next vlog. Well, that was an interesting comment from a journalist working for a magazine which has for many years railed against the societal norms. For those of us who do not regard “prog” (whatever meaning one might place upon that) as a dirty word, we are constantly in awe at just how much our music simply continues not just to delight, but to push the boundaries forward.

Unusual Movements is an essential album, a certainty of quality and intelligent emotion in an era of uncertainty and corporately manufactured “feelings”. Imagine you are that adult looking down at your younger self, or that parent apologising for the wrongs inflicted upon the child(ren). I think we could do a lot worse than sharing this delightful album as far and as wide as we can.

A plea. Please support the artist and buy as opposed to simply streaming.

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Nonsoloprogspot

Alessandro Di Benedetti, tastierista dei romani Mad Crayon, è un fiume in piena.
Non si finisce di godere di un suo ultimo lavoro che ne ha pronto un altro, soprattutto con il progetto solista denominato Inner Prospekt. Infatti, Di Benedetti non soltanto ha una prolifica carriera solista, bensì pone la sua arte al servizio di molti, come nel caso dei The Samurai Of Prog, così come per Kimmo Porsti e Rafal Pacha.
Con “Unusual Movements”, Inner Prospekt giunge al quindicesimo album in dieci anni di esistenza, ma la cosa che più mi colpisce è che sono tutti dischi di medio alto livello, ben registrati, curati e ricchi di quel Prog Rock che s’inframezza fra il passato e il presente. Le tastiere in questo genere ricoprono un ruolo fondamentale, tanto quanto lo erano le chitarre elettriche per gli esordi del Rock, e Alessandro lo sa molto bene.
Come da cliché, i sette brani contenuti nel nuovo disco sono di media e lunga durata, sino giungere ai quindici minuti di “Mantra” e come negli altri album, Di Benedetti si avvale dell’ausilio di special guest che in questo caso rispondono ai nomi di Rafael Pacha (chitarra), Federico Tetti (chitarra), Carmine Capasso (chitarra), Marco Bernard (basso), Daniele Vitalone (basso), e Giuseppe Militello (sax).
Per addentrarsi nel nuovo cammino ci pensa la strumentale “The Bridge” comportandosi da intro, un dialogo fra basso, tastiere e batteria che alterna frangenti toccanti di piano ad altre parti vigorose. Certi passaggi potranno ricordare a molti di voi le intramontabili Orme. La tecnica di Alessandro è al servizio della melodia e non viceversa, un giusto dosaggio fra qualità tecniche e gusto per la composizione mai soffocata da inutili orpelli.
Ed è la mini suite “Mantra” a presentare lo stato di salute odierno di Inner Prospekt, tutto il DNA è visibile fra le note, soprattutto la scelta dell’elettronica porta freschezza all’ascolto. Il sax di Giuseppe Militello è un perfetto tassello del puzzle, mentre le parti vocali s’intramezzano gentilmente, sussurrate e pacate.
Più malinconica “Winter Day” dove il rapporto padre e figlio è esposto nella fragilità delle incomprensioni. Il pianoforte disegna le trame semplici ed efficaci.
Sono i Genesis a comparire più spesso nello stile proposto in “Neverland”, la storia di Peter Pan è narrata oltre che supportata da suoni magnifici che faranno scorrere più di un brivido sulla pelle degli amanti del sound vintage. Dodici minuti di elegante passato.
Un passaggio anche nel Jazz attraverso “Just Five Minutes”, un cambio di stile che dimostra a pieno la preparazione culturale di De Benedetti, un suntuoso e caldo giro di basso dialoga con la batteria spazzolata e un sax che a dir poco potrei definire sexy. La fragilità umana è narrata in “Around The Corner”, composizione introspettiva perfettamente legata allo stile pianistico dell’artista. Qui sono gli arrangiamenti a fare la differenza, fra fiati e suoni sinfonici. La chiusura è affidata alla bucolica “The Question”, piccola chicca sonora che sa coccolare lo spirito. C’è anche una sorpresa che lascio alla vostra curiosità scoprire.
Questi sono i classici dischi che possono avvicinare un neofito al mondo del Progressive Rock, termine che oggi è accostato più alla musica del passato (erroneamente) che a quella del presente. In fondo la bella musica non ha confini né tempo, è bella e basta. Inner Prospekt lo sa e lo dimostra.

Massimo Salari




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PROGCRITIQUE 5/5


Si nombre de compagnies aériennes américaines n’offrent pas de rangée 13 dans leurs avions, et vous ne trouverez pas non plus de 13ème étage dans les gratte-ciels américains, Alessandro Di Benedetti n’a pas cédé à cette triskaïdékaphobie puisqu’il nous sert ici l’opus 13 de son Inner Prospekt. Après le futuriste et étonnant Grey Origin, puis le symphonique et somptueux Canvas Three, le maestro nous propose selon une régularité métronomique un nouvel album. Pour cet Unusual Movements, vous ne serez pas surpris de la liste des usual suspects qui accompagnent le virtuose des claviers, à savoir Frederico Tetti, Rafael Pacha, Marco Bernard, Daniele Vitalone, Carmine Carpasso et Giuseppe Miletello. Tiens donc, avec ce dernier je note le retour du saxophone. Je note aussi que les morceaux avec chant sont majoritaires, et chantés par Alessandro lui-même.

En guise d’antipasti une courte intro en duo claviers / basse, plus la batterie jouée également par Alessandro permet de se régaler d’une belle ligne mélodique, lancée par la basse et poursuivie aux claviers, dont un joli mouvement central au piano rythmé en 7/8.

Premier plat de résistance, « Mantra », revient sur la sombre et étrange période du covid. La voix d’Alessandro sur un ton désabusé essaie tout au long du morceau de nous convaincre que Tout ira bien … Sons électroniques, motifs rapide au piano et sax lancinant donnent un côté hypnotique à cette musique très expressive qui va crescendo jusqu’au climax des 3’30. Reprise en douceur avec le chant, puis un magnifique duo sax et claviers, rythmé par le tic-tac de la batterie, apporte un mélange de mélancolie et d’un peu de lumière. Le passage au piano solo vers 9’30 dans un style jazz / romantique est une autre petite perle de lumière dans cette grande fresque. La voix tantôt grave tantôt aigüe de la guitare de Frederico Tetti qui lance le final où le chant d’Alessandro prend cette fois de la hauteur, avant de relance l’obsédant tic-tac du temps qui semble ne pas avancer …

Beaucoup d’émotion et de retenue dans « Winter Day », une ballade triste en forme de lettre d’un père à son fils, inquiet (le mot est faible) de l’héritage laissé à sa descendance doublée d’une demande de pardon. Une belle mélodie, parfaitement harmonisée comme toujours, et en arrière plan, Marco Bernard assure le continuo.

Deuxième morceau de bravoure de l’album, « Nerveland » reprend la composition effectuée pour l’album de Marco Bernard, The Boy Who Wouldn’t Grow Up, sous l’astucieux titre « Never Never Land ». Il s’agit d’une œuvre assez typique du style symphonique de l’italien : thèmes grandioses et lyriques, contrastes sonores allant du classicisme au jazz rock (cf. à partir de 5’), une écriture virtuose et dynamique, bref une vision qui rappelle celle de Tony Banks. Point de grand orchestre symphonique ici, mais seulement deux musiciens accomplis, Rafael Pacha et Alessandro di Benedetti, pour jouer cette intense partition!

« Just Five Minutes », dont le titre ment un peu quant à la durée du morceau, me ramène aux bons moments de guitare de Larry Carlton ou de Lee Ritenour, avec ce qu’il faut de piano électrique et de sax pour ce morceau jazzy aux sonorités intemporelles.

« Around The Corner » est une autre des ces grandes fresques chargées de grandeur et d’émotion dont Alessandro maîtrise totalement le développement. Le retour sur ses interrogations de jeunesse permet au musicien de développer au piano de magnifiques images sonores, que ce soit le thème de l’introduction, ou plus loin dans un passage alerte et aérien. Au centre du morceau, le retour à l’atmosphère très poétique du début permet une respiration avant de lancer un long final enjoué et proprement grandiose. Je ne peux m’empêcher de faire ici le parallèle avec « One For The Vine » de Tony Banks / Genesis. C’est dire tout le bien que je pense d’« Around The Corner ».

Très différent du précédent, « The Question » s’étire lentement sur l’obsédant motif de la guitare acoustique de Carmine Capasso. Mais cette ambiance floydienne est soudain rompue par un puissant solo de guitare électrique cette fois, très expressif et lyrique. Le morceau s’achève dans une brume musicale sereine et dépouillée.

En guise de bonus, « Living Like A Looner » revisite la musique de « Neverland » sur un rythme syncopé des plus plaisants. J’adore ce côté latin music nonchalant et enjoué, avec toute l’ambigüité que peut prendre ici cette terminologie !

Musicien dans les doigts (sans oublier la voix) et dans l’âme, Alessandro di Benedetti ajoute une pierre supplémentaire à son Inner Prospekt, et on le sait, en matière de construction les Romains savent y faire ! Unusual Movements (*) est un nouveau merveilleux recueil d’histoires en musique, savamment écrites et superbement réalisées.