ALEX CARPANI BAND

The 'Amnesiac' takes up themes from the 70s to the 2000s without the vintage side... There is rhythm, energy, Alessio's sax is just divine, ethereal breaks, elegiac choirs with voice-overs in 'Flashbacks' just melting, hard heavy riffs leaning towards BLIND EGO, Alex's warm keyboards and Emiliano's bewitching, swirling and astonishing guitar offering a fabulous prog melting pot... Captivating marshmallow tones, there is above all a progressive enthusiasm to move from one drawer to another with flowery, bucolic atmospheres. The sound of the synthesizer bewitches and strikes a fatal blow with Valentina's vocal leading to the dreamlike dream... The sound resembles the best CARPANI in fact, unrivaled... And would have been in my top 2024 if I had had time to listen to it longer before the end of the year. Almost half an hour that passes without realizing it, it's a major sign.

The 'Good and Evil' has the charm, the bewitchment... again... I look for reminiscences, sounds of other groups... Go in bulk a little of the MINIMUM VITAL for the bouncing and rhythmic keyboards on which we do not get bored; a little of the solos of RIVERSIDE and COLLAGE for the spleen but beautiful, touching guitar. A bit of the atmosphere of SAGA for the clarinet and the instruments mixed together, in short more tonic, energetic and velvety all the same, oxymoron prog.. A bit of classical orchestration with Many wind instruments, sax, viola, clarinet and others... Instruments that go very well in this long suite where the cinematic aspect intervenes with a solemn speech, cries of the jubilant audience and the whiff of YES and Wakeman all at once.. A nod to the sound of GENESIS with Gabriel's flute which fit perfectly into their music.... Not a stressful, annoying sax, not an aggressive flute like in many current groups just repeating the clichés... Title with its elegiac choirs which fit perfectly! (4.9)

The Good Carpani

Few artists in the progressive rock realm consistently balance technical with emotional depth, but Alex Carpani has once again proven himself capable of delivering on both fronts with The Good Man. This 2024 release not only cements his legacy but also serves as a significant artistic statement, exploring themes of morality, identity, and the complexities of human nature. The band is in top form throughout the album. The interplay between guitars, keyboards, and rhythm section is seamless, creating lush, dynamic soundscapes. Fans of classic prog influences like Genesis or Camel will find plenty to admire, yet The Good Man never feels derivative. Instead, it builds on these inspirations to craft something distinctly Carpani's own. The production on The Good Man is stellar, with a crystal-clear mix that highlights every instrument. The layered arrangements are rich yet never overwhelming, giving listeners space to appreciate the nuances. The album's emotional weight is enhanced by its atmospheric textures, drawing the listener deeper into its introspective world. With The Good Man, Alex Carpani has delivered one of the standout progressive rock releases of 2024. Its combination of conceptual depth, masterful musicianship, and heartfelt emotion makes it an essential listen for both long-time fans and newcomers to his work. This is a record that rewards repeated listens, offering new insights and layers of meaning with each spin. In a year of really mediocre releases this record really shines like a light in the dark. It seems the ears of the reviewers are joined by the mediocrity and self satisfaction. But not this time?

Its about time to review this interesting musician, after all I own three albums already, but I never got to review any of them until Alex sent me a request to listen to his latest offering. How can I refuse such a kind wish? Born in lovely Montreux, Switzerland and currently residing in the equally stunning city of Bologna with its endless porticoes and colonnades, Alex is a gifted keyboardist, multi-instrumentalist and composer, and while his backlog is chock full of quality tracks, this new album is an absolute stunner, which should catapult him into the higher echelons of 2024 prog releases, perhaps even among my top 5! Ably assisted by a muscular rhythm section composed of drummer Bruno Farinelli (a true revelation on all the tracks), longtime bassist Giambattista Giorgi as well as slick guitarist Emiliano Fantuzzi. Throw in Alessio Alberghini's swirly saxophones, but the major jaw drop comes with the inclusion throughout the 2 long suites of mezzosoprano Valentina Vanini, that raising the already celestial roof on the overall dense symphonics with some stellar vocalizing, very reminiscent of Pauline Lucas' soprano wailing on King Crimson's Formentera Lady. Two extended suites each roughly 30 minutes long and containing 9 parts, completely stamps this work with composing credibility, where reflective arrangements cleverly interweave in telling its stories, with no diluted moments to be heard anywhere.

"Amnesiac" kicks off with a hypnotic train ride, zipping gently through the countryside before screeching into the furious chaos of a large city, a harrowing adventure that can easily make one lose their mind! Feeling alone in the company of thousands of faceless people is expressed by the booming 'Perfect Chaos' section, a thrilling maelstrom of sound and fury. A momentary lapse of purpose is depicted on the floating and vaporous 'Flashbacks', perhaps a desperate attempt at calming a hurrying heart and an edgy mind. This part really opens up the throttle as both Carpani's synths and Farinelli's concussive assault seek to emulate some form of wake -up call, a return to a physical realm of touch and sensibility, as the grinding chain-saw electric guitar riffs slam hard, especially in the chicanes. Palpitations are brought under control, as 'Diamond in the Rough' reestablishes a proper lung full of air, decorated with a powerful melody and a convincing vocal from Alex. The luxurious symphonics enter the arrangement with neo-classical leanings, a reflection on the 'Past Life' with a crushingly gorgeous aria from Valentina Vanini, whose controlled wail is to expire for, a larger-than-life instant of serene intensity that is simply overwhelming, blending into a distant horizon of revelation, perhaps even liberation, as the 'heart calls' out for a 'returning light'. The final two sections are profoundly inspiring, infusing a calm bass groove and an uplifting saxophone, caressed by choir mellotron and Vanini's supremely well-placed howl. When Fantuzzi adds a spiraling guitar solo, there is definitely an illumination at the limit of the cerebral tunnel, as 'End of the Day' seals the crimson waxed seal on the deal. I am such a sucker for operatic voices, as Vanini adds a dimension of power and genuine emotion that verges on an epiphany of sorts. Clarity succeeds in reestablishing a firm contact with reality, a magnificent salvation of spirit and sound.

As tremendous as the first suite is, "Good & Evil" is an even loftier one, as it segues nicely into a contemplative space of 'vanishing frequencies', desperately twirling the knob to find 'the Flow', which enters the frazzled fray with a deliberate bass thump and an athletic drum attack that hits into overdrive, crashing cymbals symbolizing a new path, as the synths twists and turn in a frenzy. Alex's vaporous vocal is chilling as if singing in an oval channel, heading towards a 'post-traumatic stress disorder', perfectly expressed by Valentina's wailing and Fantuzzi riffing, Farinelli bashing, Giorgi brooding and Carpani carving with no holding back. A highlight moment of symptomatic musical nightmare. Thankfully the soothing saxophone appears on 'Stillness and Ecstasy', a balm of comfort once again elevated by Vanini's courageous defiance, if only for a brief respite. Needless to state, the continuous sonic contrasts are energetically intriguing, as the ebb and flow are beguiling with a load of detail that 'flirts with darkness', infusing trembling electronics into the mix. Farinelli really sweats up a storm, egged on by a strong bass alliance. Vibrant symphonic prog at its finest. At nearly 6 minutes, 'Mystical' is not only the longest snippet but also perhaps the spiritual apotheosis on this album, what with the mythical infusion of glorious church organ (to go with the papal announcements), a lovely wink to Rick Wakeman's first solos album as an homage. The operatic voice raises this piece to celestial heights, a serpentine vortex of impeccable notes that seek to fascinate and imagine beyond the dreary routine of everyday life. Vannini segues into a desire to leave the path, a clever return of a previous melodic line and vocal, looking for a more familiar direction. 'Masquerade' just keeps on giving, a façade of the continuing battle between good and evil, burping bass and a slithering, shimmering guitar adornment that Hackett would surely approve. Rather unsurprisingly, 'Everything falls into Place' becomes the immaculate finale where all the preceding emotions are reassembled into a compact and explosive consecration that leaves nothing to chance. The peaceful innocence of children playing, laughing and smiling, before putting this marvelous story to bed, a warm blanket, a soft pillow and a kiss on the forehead.

When the entire package is also adorned with an attractive cover and sterling production, one cannot help to immediately be slain by the incredible music within the grooves, my first audition blowing me sideways with repeated gasps, grunting with unabashed pleasure, entertained and pleased, unable to resist the immaculate charm of the proposed work.

5 Decent males

'Microcosm' is the new (2022) album delivered by ALEX CARPANI, my first review attempt when it comes to this experienced composer and multi-instrumentalist. Yep, I immediately was convinced, most certainly got stuck on this when starting to listen. Since more than 15 years he has produced a vast amount of music, which might be referred to several genres in general. That means not exclusively progressive rock, but I would say equipped with a strong preference on that anyhow. Sometimes the project is assigned with the suffix BAND, sometimes not, it doesn't matter in the end. It's a case where he has the hat on for sure, manages a lot on his own. But this is augmented by several guests too in any case, where some of them are really big names, for example featuring David Cross (violin) and David Jackson as well as Theo Travis on diverse wind instruments. Carpani is managing a very appealing progressive art rock album featuring some singer/songwriter touch overall. Let's say akin to Kevin Gilbert on solo paths somehow, just to give a proper clue regarding the stylistical classification and the quality standards in general.

This album is spreading a wonderful atmosphere to the world. It all starts with the touching Starless that will promise an enjoyable excursion furthermore. First 'Don't lie, don't cry ...'. Kiss And Fly is rocking the boat, a really interesting multi-varianted composition. And then 'Let me cry, let me lie ...', God Bless Amerika, 'I just know it's not for me ...', lyric-wise accusation or at least some criticism is shimmering through obviously. Excellent organ and piano appearance on The Mountain Of Salt furthermore. Terrific, initiated by a nice piano line the instrumental Prime Numbers turns out to be my personal album highlight, at the moment at least. The cheerful jazzy mood, diverse solo activity, wow! I can't come to another conclusion, this are round about 60 minutes playing time where every track has something special to offer, absolutely entertaining. It grows with every round, a colourful experience, just like it is with the tempting front cover picture.

"L'orizzonte degli eventi" is the fifth album by Alex Carpani and was released in 2020 on the Independent Artist Record label with a line up featuring Alex Carpani (vocals, synth, programming, virtual guitar), Giambattista Giorgi (bass) and Bruno Farinelli (drums). According to the official website, this is "a kind of visionary and existential concept album about the imaginary line that divides the possible scenarios of our lives, in the moment when we are in front of big life decisions". The overall sound confirms the new course of its predecessor, open to pop and new wave influences, but this time the lyrics are in Italian and in my opinion a good term of comparison could be represented by some of Franco Battiato's recent works like "Dieci stratagemmi" or "Ferro battuto"...

The album opens with 'L'orizzonte degli eventi' (Event horizon) where, on a base of sound effects, the narrative vocals of an astrophysicist give the scientific definition of event horizon, a boundary beyond which events cannot affect an observer. After that, the event horizon becomes just a metaphor to describe some crucial life passages and the relativity of every thing and the first track is just an introduction linked to the following 'Lava bollente' (Boiling lava) where the rhythm rises and you can ride on an imaginary train "running against the grain" through dream and reality, time and memory.

'Fiore d'acqua' (Flower of water) is a dynamic piece that deals with love and nostalgia, the desire to reach a person who is far away from you and the importance of the memories she left behind. Memories that seem like pages of a book written in the wind... Next comes the ethereal atmosphere of 'Il perimetro dell'anima' (The perimeter of the soul), a piece that describes in music and words the strange feelings of a foggy morning and the rising power of an invisible force that shines through the clouds... The nervous 'Tempo relativo' (Relative time) is about time passing by. As As the merciless blade of time comes down, darkness devours light and life while deceiving illusions melt in a storm of emotions... Then it's the turn of 'Sette giorni' (Seven days), a surreal track about the effects of the daily grind on dreams and regrets, freedom and desires.

'La fine è là' (The end is over there) deals with environmental issues. The rhythm is frenzied, the atmosphere tense and threatening while the lyrics evoke the need for a desperate run against the clock to stop the human tendency to self-destruction. What comes after is the aggressive 'Nel ventre del buio' (In the belly of darkness), a kind of invitation to dive in the heart of the night, an advice to look for the hidden side of things to find the right balance between expectations and reality. Then 'Le porte' (The doors) closes the album with its reflective mood and a pinch of spirituality.

On the whole, a good album although very different from Alex Carpani's excellent early works in a more symphonic style.

"So Close, So Far" is fourth album by Alex Carpani and was released in 2016 on the independent label Ma.Ra.Cash Records with a line up featuring Alex Carpani (keyboards, programming, vocals), Ettore Salati (acoustic and electric guitar), Joe Sal (vocals, guitar), Giambattista Giorgi (bass) and Martino Malacrida (drums). If compared with his previous works, it marks a deliberate change of musical direction veering to an elaborated A.O.R. and leaving behind vintage instruments and symphonic prog in favour of a modern, simpler sound. All the tracks have a common thread, the difficulty to communicate with each other even in an era dominated by social media and by a technology that seem to create interpersonal barriers instead to help us to break them down. The artwork by Gigi Cavalli Cocchi tries to capture the image of this world in reverse...

The opener "The Eve" is a short, melancholic instrumental track that leads to the lively, melodic "I Tried And Tried" where rays of light pass through heavy clouds and distant marching steps resound in the air, growing like shadows from an obscure past. Musically, memories from the eighties are knocking at the door...

The lyrics of the following "Man On The Wire" conjure up the image of a man walking on the thin rope of life between madness and fear, trying to avoid the tricks of everyday life. Here the music every now and again reminds me of Ultravox...

The bitter-sweet "Stay With Me" opens with an acoustic guitar arpeggio, the music and lyrics try to evoke the scent of the sea and a sense of inner magic sweeping off fears and doubts... A good style council where more eighties influences are mixed with a shy touch of prog!

The nervous "In Your Absence" starts by an aggressive electric guitar riff and drives you into the frenzied nightlife of a modern city, bewitched by the scent and memories of a missing lover while the following "Let My Drop Of Sweat Fall Down" is a good rock ballad about the need to push your heart against the tide and stretching out your limits.

The nocturnal "Crystal Falls" tells in music and words about a solitary, regenerating walk under the moon and the falling stars... Then it's the turn of the dreamy "One Face, One Lie" that begins with an excerpt from famous Martin Luther King's speech "Beyond Vietnam: A Time to Break Silence": "I come to this magnificent house of worship tonight because my conscience leaves me no other choice... A time comes when silence is betrayal... The truth of these words is beyond doubt but the mission to which they call us is a most difficult one...". As Martin Luther King's words fade away the music and lyrics portray a man meeting a ghost, one day at home... Or it was just his image reflected by a mirror? Well, like all dreams, this one has its own illogicality and truth and lies are blurred.

The light "Next Time" features electronic sounds and catching melodies while the lyrics describe the attitude to postpone decisions as time flies away. It leads to the melancholic, introspective last track, "The Last Sign", a reflection about the relativity of life and time.

On the whole, this is a nice, accessible album but beware! Many prog lovers could by highly disappointed by Alex Carpani's new course.

Far from what is offering Waterline and The sanctuary, musicaly. Practical from that solid and inspired symphonic prog, Carpani is sounding now on So close so far from 2016 like a pop rock band with electronic keyboards and totaly dull modern sounding pieces.

Forgetable at best, sorry to say but I expected a lot more from him. Is same in sound with another band where he is involved Aerostation, another skip and miss band for me.

Not a piece is in front, same atmosphere, same arrangemnents, same all. Maybe the art work is the only good thing here

This modern type of prog is not for me, hardly 2.5 stars.

Alex Carpani was born in the Swiss city Montreux in 1970, with an Italian father and a French mother. On his sixth he was taught organ, then piano and also writing compositions. The way he discovered progressive rock is very special: he was in the same class as the son of the late Keith Emerson named Aaron, at Keith his home he got familiar with ELP and Alex loved it!

In 1993 he released his first solo album entitled Hypothesis, followed by numerous projects including the very interesting CD Waterline in 2007 featuring Aldo Tagliapietra (Le Orme), Tony Spada (Holding Pattern) en Paul Whitehead (designer of the early Genesis LP's).

On this solo album The Sanctuary drummer Gigi Cavalli Cocchi (Mangala Vallis and Moongarden) and guitar player Ettore Salati (ex-The Watch, The RedZen and SoulenginE) are invited as guest musicians. Listening to the 10 compositions on The Sanctuary I was often carried away to Vintage Keyboard Heaven due to the sound of flashy Minimoog synthesizer flights, majestic Mellotron choirs, sparkling Grand piano and sumptuous Hammond organ. Especially in the ELP inspired Templar's Dream and swirling solos in Knights And Clergymen). Ettore Salati's guitar work is in the shadow of the lush keyboards but he plays very tasteful and varied, from powerful riffs to flowing and sensitive runs with hints of Steve Hackett (like in Entering The Sanctuary). And in Master Of Ceremonies he delivers a captivating duel on flamenco guitar with Mellotron choirs, goose bumps! Some tracks contain English vocals, these sound decent but not on the level of the other instruments. I am sure that singing in their wonderful native language would have given these songs more emotional depth.

Nonetheless, this new effort by Alex Carpani and his musical friends has turned into a very pleasant progrock experience with the focus on exciting vintage keyboards, recommended! My rating: 3,5 star. In 2014 and 2016 Alex Carpani released two other acclaimed albums as I look at the PA ratings.

Top notch NeoProg from Italian keyboard/vocalist Alex Carpani and friends. Like their stellar release from 2014, 4 Destinies, the music here is complex, melodic, dynamic and very well rendered. While still retaining shadows of the Peter Gabriel-era GENESIS, Alex and the band have moved more into their own sound, with a more rock edge to it as compared to the jazzy-tinge that the four epic-length songs from 4 Destinies had. Plus the 10 songs here all fall within a two- to seven-minute time range and each carry their distinct flavors--even though this is a concept album. Human isolation and self-alienation are part of the topics here as it is posited that advances in technologies and virtual realities have allowed an appearance of global closeness that is in fact false and self-alienating. The music may support this theory while pointing toward a direction of hope, recovery, and health, but in the end, it is just nice music of the IQ kind.

Favorite songs: 9. "Next Time" (5:36) and 10. "The Last Time" (6:27)

Four Destinies is the third studio album by Alex Carpani and it confirms all the good qualities of its predecessors, Waterline (2007) and The Sanctuary (2010). It was recorded with a line up featuring Alex Carpani (piano, Hammond, Mellotron, Moog, vocals), David Jackson (sax, flute), Ettore Salati (electric and acoustic guitar, bouzouki, balalaika), Giambattista Giorgi (bass), Alessandro Di Caprio (drums) and Joe Sal (vocals) and produced by Cristiano Roversi who engineered, mixed and mastered all the pieces. The album was finally released in 2014 on the independent Festival Music label with a nice packaging and an art cover reproducing a statue by Michelangelo Pistoletto, The Etruscan, from the Forth Worth Museum collection. According to the liner notes, this is a concept album based on four eventual destinies that a man can find on the path of his life: four destinies that irradiate, moving from the same point, in four different directions of life. To be honest, the concept is not very clear: the lyrics alternate parts in English and in Italian and do not try to tell a story but rather conjure up images adding more colours to the four musical tableaux on the album, the rest is up to your imagination! Four destinies, four long tracks with many changes in rhythm and mood, very rich in ideas and musical colours well performed by an excellent team of musicians...

The beautiful opener, "The Silk Road", takes you on a long journey through valleys and deserts, following the ancient tracks of merchants and adventurers such as Marco Polo. It's a road that marks the destiny of many different people in a melting-pot of races, colours, smells and sounds... A road that crosses the borders between science and faith, where you can hear secret stories whispered by silent shadows under the moonlight...

"Time Spiral" takes you on the mountains where you can sit on the banks of a brook and bathe in the icy waters of the springs of Time. There you can get lost in the mystery of life, you can feel the weight of your days passing by like dust and sand carried away by the current... But a threatening storm is approaching and the rage of the wind will soon blow away everything around you in the crazy spiral of a deadly fate...

"Sky And Sea" begins softly and features some dark passages that recall Genesis and Van der Graaf Generator. The music and lyrics take you on a boat sailing across raging waters under a thundering storm in a dark night... You've got to gather all your energies and fight hard for your life against the fury of the elements. At last the storm calms down, you see a lighthouse and you can breathe the smells of a seaport, you can reach a safe harbour. Now the danger is gone but sometimes tears take a long time to dry...

"The Infinite Room" takes you on a sleepwalk through an enchanted world, as in a H.P. Lovecraft story... Your body is out of control while you're strolling through the streets of a fantastic, unreal city. At dawn the dream melts and you wake up confused by feelings, thoughts and visions that are driving you insane. You can hear a strange music that's shaking your soul... "The sound of weird lyric melody was what aroused me. Chords, vibrations, and harmonic ecstasies echoed passionately on every hand; while on my ravished sight burst the stupendous spectacle of ultimate beauty..." (H.P. Lovecraft, from Beyond the Wall of Sleep).

On the whole, I think that this is a very good album: if you like bands such as Genesis or Van der Graaf Generator and Italian progressive rock, have a try! I'm sure you will not be disappointed.