Issue 2025-006
Alex Carpani — The Good Man
Suite 2 - Good and Evil (28:24): Lost Frequencies (0:57), The Flow (4:13), P.T.S.D. (3:52), Stillness And Ecstasy (2:15), Flirting With Darkness (4:11), Mystical (5:39), Leaving The Path (1:32), Masquerade (2:42), Everything Falls Into Place (3:09).
Alex Carpani and his band are back with yet another compellingly enjoyable outing that seems to have won the hearts and minds of many fans and reviewers alike. This is understandable when you consider the calibre of the man behind the material presented here and along with his stable of talented co-musicians, the results are going to be pretty positive.
Joining Alex (vocals, keyboards, virtual orchestra, drum machine, synth bass, virtual guitars) we have Bruno Farinelli (drums), Giambattista Giorgi (bass), Emiliano Fantuzzi (guitars) together with Valentina Vanini (mezzosoprano voice) and Alessio Alberghini (soprano sax).
Anyone reading through earlier reviews can see the glowing comments made about Alex's 2022 album, Microcosm. Earlier reviews are just as supportive of the quality of this man's visionary talents.
The album comprises two suites of approximately 28 minutes duration. As each suite contains nine pieces each, we are talking about just under an hour's worth of extremely well conceived and composed material that should appeal to a wide variety of prog fans. Joining Alex on this album we find the angelic voice of Valentina Vanini whose mezzo-soprano voice is hard to miss. Infusing slightly operatic vocals to those pieces which feature her talents, the listener will delight in the variety and skill set that she brings to this project. Although traditional opera is not a musical genre that I openly enjoy, the songs that feature her vocals seem like a logical fit and simply enhance the overall sound to the point where the listener could rightly assume that nothing else would seem natural.
The first suite, (Amnesiac), discusses at length the trials and tribulations of a person dealing with the loss of memory, forgetting facts, information and other experiences that fall within the amnestic syndrome umbrella. It is a highly emotive study of what a lot of people experience on a very personal level so it becomes easy to appreciate the concept behind this piece if you have first-hand experience with the issue or know someone else who has.
The second suite interrogates exactly what decisions one must make with life's options whether that might include work choices, personal relationships or underlying decisions that dictate how to reach nirvana when dealing with life itself. The complete fulfilment of these choices ultimately brings us a result that dictates whether we have managed to live a complete and rewarding life.
Musically, the album is replete with many segments that bring back the old regular progressive rock style of the 70's while other sections embrace all the advanced technological improvements and concepts that modern life has afforded a musician with a vision for the future. For this reason the album will appeal to fans of all ages and genre preferences. From engaging synth work to blistering lead breaks to emotive singing and a solid rhythm section, all bases are adequately covered for most prog fans. The production on the album is also incredibly well done as each instrument is easily discernible and the sound stage (at least on decent equipment in my own music room), sounds massive.
This is definitely an album to enjoy from amongst the many offerings that emanate from the world of progressive rock. Some names will come and go, while others will make a brief appearance and then fall behind. With Alex's latest album, I can see an even brighter future coming his way as he has composed a very intelligent, cohesive and well-structured conceptual album that works on a number of levels. A great effort and an album I will definitely keep spinning for months and years to follow.
Deep Limbic System — Katharsi
Formed way back in 2012 as an amalgamation of various projects, this is only the second album from Mexican band Deep Limbic System.
Their debut effort, a mini-album entitled The Embryo, was released ten years ago. At the time I was blown away by the five tracks. In my review I acclaimed it as the 'best European-style crossover prog-rock album of the year' and awarded it the hallowed 10 out of 10 points. It duly became my Album Of The Year.
Katharsi has been a long time in the making, but we do get the eight tracks totalling more than 50 minutes of music. The sound is very similar, with the band again combining a number of different progressive styling to create music packed with emotion and colour. There are plenty of little diversions but the band's playing is set firmly in the style of traditional European progressive rock.
Only two members remain from the line-up that recorded The Embryo. Sergio Sunga provides lead vocals and guitars with Carlos Bárcenas on keyboards. New musicians provide bass, drums and a second guitar.
I do miss the sax that played such a big part in the success of the debut. It does appear here but only for solo spots on two tracks. Previously it was an integral part of the album's sound.
There is also a greater emphasis on the instruments and less on the vocals. The extended interplay between keys and guitar is well performed but the riffs and melodies and groove don't really stick in the memory to the same extent as they did a decade ago. Disappointing for me as I was really looking forward to this album. I can't really explain why, but whereas on The Embryo everything just felt exactly in the right place, this time around nothing really clicks. Sorry, but I'm just not feeling it.
It's very well played and produced, and I am sure that those who like their prog influences to stretch from King Crimson, Genesis, Pink Floyd to Porcupine Tree, Anekdoten and an occasional heavier burst of Darkwater will enjoy what DLS have done here.
Ending on a positive note; I must give a word of praise for the very eye-catching album cover.
Tim Morse — Soundtracks
Tim Morse is an American multi-instrumentalist who has spent many years honing his craft but principally with the Yes tribute band called Parallels. I also believe Tim is a member of 2 other bands, The Mangoes & The Jerry Jennings Band, although I have not heard any of their music so can make no comparisons.
On this latest outing, Tim is responsible for vocals, keyboards, acoustic and electric guitars, e-bow guitar, mandolin, banjo, other stringed things, bass guitars, drums and hand percussion so it's quite apparent he is a dab hand at just about anything musical. Despite having a very common surname within the music industry, Tim is not related to either Neal Morse or Steve Morse but how uncanny is it that three like-minded and named musicians all fall within the progressive rock genre. Whodathunkit?
On previous albums, Tim is often accompanied by other musicians who contribute a lot of variety and strength to his earlier efforts yet on this outing I am hearing an assortment of very laid back songs that almost border on new age in parts. The songs here that feature vocals are very mellow, introspective and melancholic ballads with minimal signs of adventurous musicianship. The tracks that feature more instrumentality remind me of artists such as Zazen, Davol or even Don Harris whose collective talents easily slot into the progressive new age genre.
Previous albums contained many more epic and traditional progressive rock motifs and themes which are literally absent from this release. This may or not appeal to those who enjoyed his earlier work but for my ears at least, there is certainly nothing offensive with any of the 13 self penned tracks. His version of John Lennon's Mind Games is however, a bit shallow compared to the original and could probably have easily been left off the set-list without anyone noticing its absence. The synth sections on Solar Flare are quite adventurous but there is nothing too challenging for the listener for the most part.
This album could appeal to fans of Barclay James Harvest, Strawbs, Anthony Phillips, Ken Baird or even Tim Bowness (sans the breathy vocals). I also hear vague but reminiscent snippets here and there from The Beatles which is fine by me. Just don't expect quite as much dynamic music on Tim's latest album as it is generally too mellow for that to apply. This is still a nice album none the less and one which I will certainly return to every now and then. A decent effort from Tim but my gut instinct suggests it might be a bit too mellow for older fans who are used to his previous, more progressive albums.
The Samurai Of Prog featuring Marco Grieco — The Time Machine
One of the first sci-fi that awakened my interested towards the genre during the seventies, is The Time Machine, the film from 1960. Set in London of 1899, a period in time that corresponds well with HG Wells' actual novel, this delightful cinematic experience narrates the adventures of one time traveller (Rod Taylor) who journeys far into the future to find a dystopian world that hosts the passive Eloi and the evil Morlocks. The latter ruling, enslaving and feeding on the Eloi. Long story short, Taylor manages to return to the year 1900 to give an account of his adventures and presumably (this is only hinted at in the open ending) goes back to the future to rise above and give it his best to help secure a peaceful environment for the Eloi.
In the 2002 film adaptation of the book one finds Guy Pearce portraying the time traveller. In this version the story is somewhat different as Pearce builds the machine in an attempt to prevent a tragic romantic loss from happening. Only to find out that he is unable to change the past. Emotionally frustrated he then travels towards the future to hopefully find a solution and, after several short ominous adventures in time, and at last also encounters the Eloi and their arch-enemy Morlocks, whom he in the end successfully defeats. His time machine destroyed in the process however, a stranded Pearce thereupon sets out to build a better world for himself and his newfound love interest Mara. Thereby using the holographic AI librarian Vox114 database for education of the Eloi.
Come 2024, it is Samurai of Prog's Marco Bernard (Shuker bass) and Kimmo Pörsti (drums, percussion) who, for the third time together with composing keyboardist Marco Grieco, now bring their own thoughtful and reflective spin on this wondrous tale. Showcasing similarities to both story interpretations as elaborated on above, and accompanied by usual suspects and fresh new names, its result is a marvellous musical lecture that highlights both humanities past and future through eight wonderful musical teachings.
Starting up Grieco's wonderful seventies prog-interpretation is The Time Machine with romantic classical violin and adventurously driven melodies that are brought to full bloom by lush synths and howling guitar. The composition then intricately glides towards an enchanting movement filled with serenity of flute from Giovanni Mazzotti. In full alignment with the protagonists frustrated realisation that history can't be altered, a daunting bombastic passage follows. After a monumental instrumental movement of ravishing synths and formidable musical arrangements, elevated by a magnificent solo from Riveryman, the song finally dies in beautiful symphonic grace.
The scene now fully staged, we travel back to a period in time when Apes still ruled the world. Modestly envisioning Arthur C. Clarke's evolutionary 2001 novel and at times daunting in atmosphere, Pörsti gets to fully explore the driving range of his toms while Roine Stolt feeds the playful melodies. It is especially the trooping bridge played in tribal Kansas spirit and the chemistry of interplay highlighted by Stolt's guitar solo that fully satisfies.
Fast-forward in time, The Last Legionary follows suit with mournful melodies with an alliance of violin, French horn (Marc Papeghin) and the vocals of Bo-Anders Sandström, that perfectly capture the scarred humane hero in question. All played perfectly in service of the song. Melodies march on with an otherworldly machinery of Pink Floyd synth flows, this triumphant track segues into a victorious musical battlefield designed with strident key-driven prog to which Balázs Winkler adds military trumpeting stature. A final weeping guitar statement honourably departs into sad atmospheres that tangibly bleed with feelings of solitude.
One of the finer illustrations towards Grieco's time-precise composing art is the animated Painting Mona Lisa that continuous the forward passing of time. Featuring the charismatic vocals of Daniel Feldt, this folky song about Leonardo Da Vinci's creation begins with rich melodies and passionate play akin to classic Jethro Tull that correspond perfectly with the concerning renaissance era. A canvas of attractive guitar and elegantly performed flute result in an alluring musical decor that, ornamented by marvellous guitar parts from Roberto Bucci, will infinitely bring a smile of contentment to many a prog-fan's face.
Driven by a fizzing fusion of virtuous synths and dynamic ongoing transitions that twinkle with Midas and Camel, I expect the subsequent Einstein equation of E=Mc2 to yield the same reaction. Exciting in build up, luxuriously symphonic in nature, and presented with a liquefied flow of inventive musical chemistry. A strong vocal performance by Clive Nolan injects depth of emotion, but it's especially the unparalleled lead guitar experiments by Marcel Singor (Kayak) that makes this song exponentially bigger than the sum of its parts.
Arriving in 1969, the album then truly lifts off for a grand three song finale that starts with Moon. Heralding one of mankind's greatest achievements, namely the famous Apollo 11 mission, this magnificent instrumental opens with an atmospheric countdown. After a blast of created through propulsive rhythms energised by violin and thriving keyboard/guitar interaction, it floats into tranquil spacious atmospheres where Peter Matuchniak fuels royally with stunning gravity defying rays of guitar. With Neil Armstrong's iconic touchdown remembered five minutes in, Samurai of Prog's aerodynamic musical alloy and the sublime supersonic combination of Maria Kovalenko's violin and Matuchniak's moving guitar finally brings this song brilliantly home.
Preceded by Madiba's Life, in which Grieco captures the inspiring greatness of the South African anti-apartheid activist and politician Nelson Rolihlahla Mandela in grand timeless piano style, the album rounds off with the breathtakingly beautiful Future. The intricate melodies and comforting warmth of violin repeatedly planted surprising memories of Pavlov's Dog in my mind during the first few minutes. Sung with amazing purity by Christina Booth (Magenta), this stellar song really reaches for the skies and heavens beyond. Particularly when a sublime synth-driven passage sets the symphonic experience in prosperous gear and an exhibition of the finest prog designs imaginable is revealed. Sharing impressions of Renaissance, Yes and the heavenly sounds of Oddleaf while Riveryman dazzles with stunning solos, Booth in these hopeful reflective minutes really rises and gives it her magnificent all. A prime example of saving the best for last if ever there was one.
With proceeds of the album being donated to the Finn Church Aid (FCA) in aid of suffering Ukrainian children, and the mentioning that the creative hands of Michal Xaay Loranc and Sebastiano Gentile this time around provided the exceptional artwork, all that is left to say is that The Time Machine is again an excellent demonstration of Samurai of Prog's (collective) strength. Which essentially boils down to captivating progressive storytelling of the highest musical order.
The wondrous apparatus doesn't come along with it. Which is delayingly unfortunate as it could have been of excellent use to discover all the beautiful arrangements and multiple layers entrusted to the inventively construed and formidably executed songs in time. The overtime spent however proved to be well invested. Because The Time Machine is a mighty impressive and highly recommendable album which, thanks to stiff "competition", only fell a couple of positions short from the top of my 2024 year list. Only time will tell whether this is subject to change.