GREY ORIGIN

INNER PROSPEKT is the project of MAD CRAYON keyboardist Alessandro Di Benedetti, who also worked on SAMURAI OF PROG with tones inspired by those of Tony BANKS for synths and from which he released an album in his honor, mellotron and keyboards in before. His jazzy-symphonic-bluesy 'Canvas Two' from last year blew me away, what about his last opus, the 12th which comes out on a fantastic comic book comeback from Alex TROMA with brain transplant which does not go in the good direction of the researcher. He uses all the instruments, from dry drums to the detuned wooden piano that we all played once. In short, let's dive!

"En Trance" intro to the subject on a dark sound of piano notes mixing the cozy jazzy and intimate atmosphere, all on a two-beat rhythm. "The Machinery" with a sound reminding me of the DEAD CAN DANCE of the beginning, monotony and redundancy of the air ideal for a listening mantra; it goes up...progressively helped by the drums in front, while emphasizing a refined minimalist atmosphere where the bass comes to do its gig; repetitive, bewitching, hypnotic, spleen in line with current cinematic compositions. "Brain Sausage" changes tone with an electronic ambient title where the jazzy sound comes to slip quickly setting the rhythm, a little also on the last personal wanderings of Mariusz. Singular.

"Gymnoectomy" takes us on a bedroom daydream, SATIE in sight; film strip, contemporary cinematic space by the piano; sudden break in line with a CAN ATILLA, a Jean-Michel JARRE associated with the experiences of an ENO; it's soft and disconcerting, the jazzy bass still very present, the notes shell out as if flowing from a waterfall and the cello associated with final divine voices disconcerts even more. "The Doctor" sic! Dark intro with reverberating sounds, softness similar to a BLACK SABBATH E5-150; we stay on this intimate cinematic atmosphere and the contribution of new angelic voices reinforces this religious side, melancholic very gently.

"Cavie" bass forward, the surprise comes from the contribution of Rafael of SAMURAI OF PROG on guitar; a slow hypnotic crescendo punctuated by an ambient minimalist break. The guitar takes the lead in the final part, fluid, emotive, emotionally charged before the end in outro. "Special Waste" for the 2nd long title, an atmosphere of creation or the end of the world, reminiscent of the cinema of Peter GABRIEL. Archaic evolution with bass, imposing drums associated with the divine flute which denotes and brings the emotion to its height, between imp breaths and ripper saw; the piano of our childhood used to make us sink into these murky meanders without oxygen that force you to keep your breath blocked; break with a jazz-rock declination that Alan PARSONS loved in his time. By far the best track on the album for the clear atmospheres including the oppressive finale. "The Wizard" sic! Who dives back into science fiction soundtracks such as 'Avatar' or 'Birdy' for a moment, those that help to understand that we are now in another world; short title, bluffing and superb.

"The Plague" on a tune with a heavy dark riff at the start, in four beats, my memories bring me back to a certain intro of the ALAN PARSONS PROJECT with the characteristic synth; frightening electric cello, dark rhythmic, disturbing which denotes and which does good; voice of Paradise which adds to the musical dramaturgy, there I think, but I am only thinking of the magnificent Lisa GERRARD. "Ex It" for the finale and Satie for this evanescent, crystalline, warm and soothing piano; a bit of VANGELIS, the title to listen to for hours without moderation on a magnificent dram, passion when you hold us. The progressive snub to 'EnTrance'.

INNER PROSPEKT has worked well, offering a very different opus, composing an ambient album where the piano can be played divine or evil, dark or crystalline, the classical side of MAHLER emerges, a journey beyond conventional progressive music ; shovels of atmospheres, crescendos with little dexterity to allow you to fall into the sinister sound meanders of the past two years, thumbing your nose at galloping anguish. A singular album that goes off the beaten track, ideal for laying down one evening and thinking about our future, in short, very good for the record.