THE GOOD MAN (2024)

Review index:
No. 01 - ROCK PROGRESSIF ITALIEN (France)
No. 02 - MAT2020 (Italy)
No. 03 - PROG ROGUE (Canada)
No. 04 - MLWZ (Poland)
No. 05 - STONE PROG (Germany)
No. 06 - ARTISTS & BANDS (Italy)
No. 07 - LAZLAND (U.K.)
No. 08 - BABYBLAUE-SEITEN (Germany)
No. 09 - NEW UNDERGROUND MUSIC (The Netherlands)
No. 10 - SEA OF TRANQUILLITY (U.S.A.)
No. 11 - COSMOS MUSIC (France)
No. 12 - METAL.IT (Italy)
No. 13 - PROGRESSOR (Uzbekistan/U.K.)
No. 14 - PROG CRITIQUE (France)
No. 15 - MUSIC WAVES (France)
No. 16 - EXCLUSIVE MAGAZINE (U.S.A.)
No. 17 - PROG RADIO (U.S.A.)
No. 18 - METAL HAMMER - Polish edition (Poland)
No. 19 - LASER CD (U.S.A.)
No. 20 - LOS ENDOS (Turkey)
No. 21 - PROG (U.K.)
No. 22 - MUSICALNEWS.COM (Italy)
No. 23 - BETREUTES PROGGEN (Germany)
No. 24 - TOTUM REVOLUTUM (Spain)
No. 25 - MUSIC IN BELGIUM (Belgium)
No. 26 - AREA ROCK (Italia)
No. 27 - MELLOTRON WEB (Argentina)
No. 28 - SAITEN KULT (Germany)
No. 29 - PROGARCHIVES (U.S.A.)
No. 30 - MUSICBOARD (U.S.A.)
No. 31 - ROCK IMPRESSIONS (Italy)
No. 32 - VIA NOCTURNA (Portugal)
No. 33 - PROG ITALIA (Italy)
No. 34 - THE PROGRESSIVE SUBWAY (U.S.A.)
No. 35 - ECLIPSED (Germany)

No. 01
ROCK PROGRESSIF ITALIEN (review)
https://shorturl.at/7itjj
by Louis de Ny

Depuis Waterline en 2007, Alex Carpani a fait un bon bout de chemin que ce soit sous son nom (Alex Capani Band) ou encore avec Aerostation, ce qui fait au total sept albums au compteur. The Good Man est donc le huitième et il pourrait bien marquer un tournant dans la carrière discographique de son créateur.
L'album est découpé en deux parties représentant chacune une suite complète d'une demi-heure, "Amnesiac" et "Good and evil". A noter que les morceaux formant chacune des suites sont réellement enchaînés sans blanc, ce qui évidemment rajoute beaucoup à la dimension monumentale de chaque opus. A noter également que neuf pistes sur dix huit sont des instrumentaux, ce qui donne une indication forte de la direction musicale qu'a voulu Alex Carpani pour son œuvre.
Quand "Amnesiac" décrit en neuf tableaux une expérience d’amnésie profonde vécue sur une journée avec pour finir un retour à la lumière, "Good and evil" évoque les expériences sensorielles vécues  provoquées par les ondes et les fréquences, positives et négatives, provenant des profondeurs du temps et de l’espace.
Une fois encore Alex Carpani fait preuve de modernité et produit une musique qui alterne les parties de rock énergique avec d'autres qui jouent beaucoup plus sur les ambiances avec l'apport de la mezzo soprano Valentina Vanini. Ces dernières sont sans doute celles aussi où le savoir-faire de compositeur d'Alex Carpani se fait le mieux sentir.  
Avec cet album, Carpani amalgame différents styles qu'il a pratiqué tout au long de sa carrière, que ce soit le rock progressif, l'ambient, la musique électronique, le prog métal et bien sûr le rock symphonique.En fait, il apparaît qu'il s'est enfin complètement débarrasser des influences prog qui marquaient ses précédents albums, que ce soit Genesis, Peter Gabriel, King Crimson, Pink Floyd ou  encore VDGG (David Jackson est d'ailleurs présent sur plusieurs de ses disques). Là, il me fait plus penser par moments à ce qu'a produit Andy Jackson avec une nette dimension cinématographique en plus. A cet égard, les séquences durant lesquelles Valentina Vanini intervient pourraient assez facilement rappelé le Goblin de Non Ho Sonno. 
Si je dois donner une préférence entre les deux suites, et même si "Amnesiac" présente dix dernières minutes somptueuses, j'opte quand même pour "Good and evil" qui me semble imparable et tenir la distance tout au long de ses neuf parties toutes plus passionnantes et catchy les unes que les autres. Une suite qui constituerait une superbe B.O. au passage.
Au début de cette chronique, j'indiquais que cette nouvelle sortie marquait sûrement un tournant dans la carrière discographique d'Alex Carpani. Je le confirme. Cet album dépasse de la tête et des épaules tous ses précédents disques qui étaient déjà de grande qualité. Mais The Good Man me semble être ce qu'Alex Carpani a fait de plus ambitieux mais aussi de plus personnel (dans le sens artistique du terme) à ce jour. Cet album mérite d’être défendu sur scène dans une version symphonique. 
Nul doute que The Good Man va compter dans le best of des meilleurs albums de RPI pour 2024. 

Les musiciens : Alex Carpani (chant et chœurs, claviers, drum machines, basse synthé, guitares virtuelles), Bruno Farinelli (batterie), Giambattista Giorgi (basse), Emiliano Fantuzzi (guitares), Alessio Alberghini (saxo soprano), Valentina Vanini (chant féminin). mezzosoprano
 
La tracklist : 
 
Suite "Amnesiac"
01- Amnesiac part 1: On A Train
02- Amnesiac part 2: The Perfect Chaos
03- Amnesiac part 3: Flashbacks
04- Amnesiac part 4: The Edge Of My Mind
05- Amnesiac part 5: Diamond In The Rough
06- Amnesiac part 6: Past Life
07- Amnesiac part 7: Heart Calling
08- Amnesiac part 8: As Light Returns
09- Amnesiac part 9: End Of The Day 

Suite "Good And Evil"
10- Good And Evil part 1: Lost Frequencies
11- Good And Evil part 2: The Flow
12- Good And Evil part 3: P.T.S.D.
13- Good And Evil part 4: Stillness And Ecstasy
14- Good And Evil part 5: Flirting With Darkness
15- Good And Evil part 6: Mystical
16- Good And Evil part 7: Leaving The Path
17- Good And Evil part 8: Masquerade
18- Good And Evil part 9: Everything Falls Into Place

Sortie le 6 décembre 2024
Label : Artist Records
Distribution : Pick-Up Records

No. 02
MAT2020 (review)
https://mat2020.blogspot.com/
by Alberto Sgarlato

Questo 2024 “tutto d’oro” per il rock progressivo italiano, sia in termini di quantità, sia di qualità delle uscite, va degnamente verso la sua conclusione con l’uscita dell’ottavo album per Alex Carpani (se contiamo nella discografia anche l’unico titolo a nome del progetto Aerostation).
Il tastierista e cantante italo-francese, nato in Svizzera e da lungo tempo ormai residente a Bologna (città che lo vede impegnato, oltre che nella musica, in molteplici progetti culturali ben radicati sul territorio), ci aveva abituato in passato a dischi caratterizzati da un denso numero di collaborazioni, sia estere (David Cross, Theo Travis, David Jackson, solo per citare alcuni esempi), sia legate al panorama progressivo italiano (Lanzetti, Tagliapietra, Vairetti).
Deciso cambio di rotta, questa volta: infatti, in questo suo ottavo album, dal titolo “The Good Man”, non troviamo grandi interventi di ospiti esterni ma, al contrario, una formazione ben consolidata. Il leader e compositore con le sue tastiere simula anche chitarre, bassi e partiture orchestrali grazie all’ausilio dei sempre più efficaci e fedeli VST (Virtual Studio Technologies, strumenti “virtuali” caricati sul computer sotto forma di immense “librerie” di suoni e pilotati attraverso l’esecuzione sulla tastiera).
Accanto a lui troviamo, in ordine alfabetico: Alessio Alberghini (sax soprano), Emiliano Fantuzzi (chitarre), Bruno Farinelli (batteria), Giambattista Giorgi (basso) e la cantante mezzosoprano Valentina Vanini.
E poi troviamo un batterista decisamente molto noto nel circuito musicale (non solo progressivo) italiano: è Gigi Cavalli Cocchi, che però in questo album non suona ma cura l’elegante e raffinata veste grafica.
Veniamo a “The Good Man”… Come lo si potrebbe definire? Con un termine un po’ azzardato si potrebbe coniare la qualifica di “doppio concept album”. L’opera infatti è strutturata come due lunghe suites distinte, della durata di 28 minuti ciascuna, che viaggiano su binari paralleli, diventando così ciascuna una piccola “opera rock” a sé stante. Tuttavia, nei due “concept”, si possono percepire dei punti di contatto comuni a fare da legante.
Infatti, se il primo titolo, “Amnesiac”, esplora quel senso di vuoto, di disorientamento, di smarrimento legato alla perdita di memoria, il secondo titolo esplora altre forme di vuoto, disorientamento, smarrimento: quelle di chi si trova al cospetto della contrapposizione tra bene e male. “Good and evil” è, appunto, il titolo di questa seconda suite.
Il male è spesso frutto dell’obnubilazione della memoria, “Chi non conosce la storia è destinato a ripeterla”, diceva il filosofo Santayana; “Una generazione senza storia non ha passato né futuro”, diceva lo scrittore Robert A. Heinlein. E in questi scenari così apocalittici dentro e attorno la mente umana, “il buon uomo” si ritrova a essere, nelle parole di Carpani, “una barchetta di carta alla deriva”.
Come due veri e propri “concept album” racchiusi in un solo disco, le due suites possono essere ascoltate come se fossero ciascuna formata da nove brevi brani indipendenti e collegati, per un totale quindi di 18 titoli.
“Amnesiac” parte con l’incedere di un treno (il titolo è appunto “On a train”) che genera un’atmosfera inquietante, basata su effetti sonori e rumorismo; questa introduzione deflagra poi in “Perfect chaos”, brano dal riff e dalla struttura orientali al metal-prog, che si apre in belle parti vocali fortemente melodiche e dal sapore epico; un ritorno alle rarefazioni dell’intro e alle atmosfere basate su effetti e rumori in “Flashbacks”, brano che lentamente cresce, sorretto da un bell’arpeggio chitarristico, nel quale si possono apprezzare anche le doti vocali della mezzosoprano Valentina Vanini. Piccoli tocchi di percussioni sintetiche dai suoni industriali ci introducono in “The edge of my mind”, altro brano che attraverso un percorso di “stratificazione” cresce da un inizio quasi ambient fino a una serie di evoluzioni energiche e corpose. E qui il Minimoog di Carpani la fa da padrone con i suoi poderosi interventi solisti, ben sorretti da un gran lavoro di un Hammond dal sapore hard-rock, di una chitarra pesantemente distorta e della ineccepibile sezione ritmica.
“Diamond in the rough” inizia come una ballad di neo-prog dalla vena quasi cantautorale, ma anche in questo caso cresce verso un epico ritornello cantabile. Il tutto ci conduce ad aperture strumentali a base di riff corposi e Minimoog incandescente. “Past life” si apre con un gran lavoro di orchestra d’archi (i famosi “virtual instruments” di cui parlavamo all’inizio). L’entrata della voce femminile conferisce al tutto un “mood” da colonna sonora di un vero epic movie. “Heart calling” si apre ancora con i vocalizzi lirici, mentre le orchestrazioni aprono poi la strada al sax e da parte loro i due esponenti della sezione ritmica, l’Hammond e la chitarra riportano nuovamente tutto su territori più hard. “As light returns” è una parentesi di world music elettronica tra Peter Gabriel e gli Shadowfax, con il sax soprano in bella evidenza, loop percussivi e tappeti orchestrali, il tutto squarciato da uno struggente assolo di chitarra. La suite termina con “End of the day”, sorretta dai temi arpeggiati del sintetizzatore, che infine lasciano spazio alla voce femminile e alle orchestrazioni di gusto elettronico/sinfonico.
La seconda suite, “Good and Evil”, si apre con l’effetto vecchia radio di “Lost frequencies” per poi iniziare a prendere forma in modo vero e proprio con “The flow”, elegante traccia tra new-prog, post-rock e indie-rock dall’approccio diretto e incisivo. “PTSD” vede uno splendido arrangiamento di voci maschili e femminili che si intrecciano su partiture orchestrali, per poi virare nuovamente verso lidi più hard rock. “Stillness and ecstasy” è un ritorno a quei momenti “da colonna sonora”, con loop ritmici, archi, voce femminile e sax in bella evidenza. “Flirting with darkness” è uno dei momenti più “cattivelli” del disco, che farà scrollare la testa a più di un headbanger! Anche quando il “pienone” si attenua, lasciando spazio solo a sintetizzatori acidi e alla cassa che “pesta” in 4/4 il brano non perde un’oncia della sua tensione emotiva. Belli i cambi di tempo da momenti estremamente “quadrati” ad altri dispari.
“Mystical” contiene un campionamento del discorso di insediamento del Papa attualmente in carica, Francesco I, contestualizzato in uno dei momenti più corposamente sinfonici dell’intero album.
Organi liturgici, voci liriche, cori ecclesiastici, ottoni squillanti, tappeti di archi… Non manca proprio nulla.
“Leaving the path” è un trait-d’union tra i temi più “hard” e quelli più avvolgenti e melodici dell’album. “Masquerade” ci riporta a quel gusto “etnico” che a tratti fa capolino nell’intera opera. E ci congediamo con “Everything falls into place”, pronta a infondere il giusto “tiro” che ci si aspetta da un gran finale.

Concludendo: Alex Carpani è un compositore “a tutto tondo” difficilmente catalogabile ed archiviabile. Nella sua cifra stilistica confluiscono suggestioni che spaziano dal progressive rock alle espressioni più moderne del vasto universo metal, dall’elettronica alla fusion, dalla world music alla musica accademica, sia essa più sinfonica o più cameristica. E proprio in questo sta la sua forza.

No. 03
PROG ROGUE (review)
https://www.facebook.com/photo?fbid=529637419890095&set=a.107767852077056&locale=it_IT
by Thomas Szirmay

It's 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.

No. 04
MLWZ (review)
https://mlwz.pl/recenzje/plyty/27307-carpani-alex-the-good-man
by Artur Chachlowski

Are you already waiting for presents, dear children?... This album can be placed under your pillows from Santa Claus (official store premiere: December 6 this year). And I will say right away that if you have really been polite (like the title character) and you are given this Santa gift, a smile will surely appear on your happy faces. Because "The Good Man" is an album – I'm not afraid of this word – outstanding!
Alex Carpani is an Italian-French composer, keyboardist, singer, producer and musicologist who lives and works in Bologna. Born in Montreux (Switzerland), as a child of a Bolognese and a French mother, he began his education at a boarding school founded and run by his parents. He came into contact with music at a very young age, studying organ and piano, as well as solfège, music theory and composition. He obtained a diploma from the University of Bologna, writing his master's thesis on the music of Nino Rota. He specialized in music informatics and sound engineering, attending several highly specialized courses.
He has composed many instrumental works, from new age, electronic music, symphonic music, music combined with poetry, maintained in the style of drum'n'bass, electro-jazz and music for theatre performances and documentaries. He has participated in many national and international competitions, taking top places in the rankings. He has been awarded, among others, at the international "Clio Genius" competition, as well as at several national composition competitions.
Since the mid-2000s, he has devoted himself to rock music, releasing 6 albums (four of them: "Waterline" (2008), "4 Destinies" (2015), "L'Orizzonte Degli Eventi" (2021) and "Microcosm" (2022) we reviewed on our small-lexicon pages). These albums met with a positive response from audiences and critics, which opened the way for him to collaborate, both in the studio and live, with many prestigious musicians, such as David Jackson of Van der Graaf Generator, David Cross of King Crimson, Theo Travis (Soft Machine), Steven Wilson (Porcupine Tree), Paul Whitehead (graphic designer of early Genesis albums), Jon Davison from Yes, Aldo Tagliapietra from Le Orme, Bernardo Lanzetti (former vocalist of Acqua Fragile and PFM) or Lino Vairetti from the group Osanna. With his band, he has given concerts in dozens of countries on three continents, performing in the most important halls and festivals of international progressive rock.
Together with Gigi Cavalli, Cocchi formed the band Aerostation, with which he released an album for the Aereostella/Immaginifica label in 2018, and then toured with them in Italy and abroad, supporting the legend of Italian progressive rock, the band PFM.
In addition to his musical activities, he was the artistic director of the theater and various cultural festivals in Bologna for almost twenty years. He is passionate about photography and is also the author of theatre plays (Naufragio da un sogno, 2005; "I Due Passi", 2019) and speaks three languages. He is passionate about space, astronautics and modern and contemporary art. Indeed: a one-man band.
His latest album is titled "The Good Man", will be released on December 6 and will be distributed in physical copies (digipak CD with a 20-page booklet) by Pick-Up Records and on major digital platforms.
The album consists of two compositions, about 28 minutes each, each divided into 9 parts, so a total of 18 tracks are indexed. But we should not approach this release as a set of shorter excerpts. The pillars of the album are two long suites - "Amnesiac" and "Good And Evil".And that's how you should listen to this album. It represents the styles and genres in which Alex Carpani, as a musician, has expressed himself over the years: rock, prog, prog metal, symphonic rock, symphonic music, electronics, ambient, opera music... We could probably go on and on, because both these and other genres clearly stand out from Carpani's latest production. A peculiar novelty is the use of the mezzo-soprano (Valentina Vanini) on such a scale, which plays an important, quite prominent role in both suites. This is one of the reasons why it seems that the music on "The Good Man" for a long time contains lyrical, almost cinematic atmospheres. Let us emphasize what a wonderful atmosphere: epic, dignified and sounding in a noble way.
What is this album about? The title "Good Man" is like a tiny and fragile paper boat that floats on the surface of the water, trying not to sink in the endless ocean, between storms and gigantic waves, never reaching its goal and never reaching a peaceful harbor. It is like a metaphor for human life, the constant toil, troubles and adversities that we encounter in achieving everyday goals.
The first suite ("Amnesiac") describes experiencing deep amnesia over the course of a single day: waking up in an unknown place, a chaotic race to escape danger, flashbacks of events that did not take place or not, a world that seems to be a whirlpool of madness, the search for one's own identity, memories of past lives, and then, in the finale, a return to the real world and the well-deserved end of an incredible day.
The second suite ("Good And Evil") talks about human experiences eternally suspended between good and evil: the waves that come from the depths of time, the control of people's minds who function like automatons without any rebellion, experiences that evoke a sense of guilt, the peace that precedes ecstasy, the subtle charm of darkness, mystical phenomena experienced on opiates - all these things reach a kind of balance at the end of the main character's day and return to their place. Does rebellion make sense? Do we not all have as much good as evil in us?...
Carpani talks about such topics with the help of her music. I assure you that the wide spectrum of emotions related to the matters described above has been described by the author in a very thoughtful way. No wonder that listening to this album, each of the two suites separately, becomes a unique experience, after which we are no longer the same. We have the feeling that thanks to these sounds we are experiencing something extraordinary, and even, perhaps, becoming different people. Let's hope it's a little better than we were before communing with this music.
Finally, the music payroll, or a kind of who is who on the album "The Good Man". Alex Carpani sings and operates synthesizers, a virtual orchestra, a drum machine, a bass synthesizer and a guitar synthesizer, and is accompanied by: Bruno Farinelli – drums, Giambattista Giorgi – bass, Emiliano Fantuzzi – guitars, Alessio Alberghini – soprano saxophone and the aforementioned Valentina Vanini – mezzo-soprano voice. She does an amazing job on this album.
I recommend this album. It makes an electrifying impression. As it was said in the introduction: I have the impression that we are dealing with an outstanding album. Start writing letters to Santa Claus now.

No. 05
STONE PROG (review)
https://stone-prog.de/2024/11/22/review-alex-carpani-the-good-man-2024/
by Gunter Dreßler

If you are somewhat curious about the progressive rock scene, you will always come across new records that are surprisingly good, but that hardly anyone knows about and that are unjustifiably lost in the large mass of new releases. To make sure that doesn't happen with this great album here, we would like to make our contribution with these lines. Our curiosity was aroused by the fact that this album consists of two songs. Two suites, each a good 28 minutes long, each divided into nine parts.
ALEX CARPANI is no stranger to this country. Most recently, we were able to see him live in Reichenbach this spring as a headliner at the Art Rock Festival, where he gave an exclusive concert. Here he was accompanied on stage by two world stars of prog: THEO TRAVIS and DAVID JACKSON on saxophones. The jack-of-all-trades, who lives in Bologna, is a trained musician. He composes, plays keyboard, sings, produces and is a music teacher. ALEX CARPANI has also won various prizes at composition competitions. And when we listen to "The Good Man" (his seventh solo studio album since 2007), we are not surprised.
So the album consists of two long suites and represents an uninterrupted story, an experience lived through the folds and fragilities of the human mind, through the infinite nuances of our emotions and feelings. The first suite "Amnesiac" describes in 9 parts the experience of deep amnesia that one experiences over the course of a day: waking up in an unknown place, the chaotic race to escape danger, flashbacks of events that have already taken place, the world that seems to have been sucked into a vortex of madness, the search for one's own identity, Memories of past lives and then finally the return of light and memory and the end of an incredible day. The whole thing is built very fluently, so well that you don't even notice individual 9 parts. Starting with a delicate sound mix of cello and moving train, "Perfect Chaos" follows one of the leitmotifs, which is reminiscent of King Crimson. The following motifs alternate, merge harmoniously into each other. Loud and quiet follow one another, instrumental music and sung parts alternate, providing variety and a high entertainment factor for the experienced listener. The opening motifs come back, the suite ends with the cello-train sound mix again. What? That was already 28 minutes? Then it must be an outstanding piece of music.
The second suite "Good And Evil" again describes in 9 parts an experience that hovers eternally between good and evil: waves and frequencies that come from the depths of time and space, the stream of people who advance like automatons without rebelling, a post-traumatic experience that awakens feelings of guilt, the silence that precedes ecstasy, the subtle charm of darkness, a mystical experience, a party without inhibiting brakes, all things finally return to their place. Musically, the whole thing is similarly structured, catchy rock flanked by saxophone and a mezzo-soprano vocalise, which you like or dislike; perhaps this musical device is used a little too often. According to our opinion, "Good And Evil" falls a bit short of "Amnesiac" in terms of quality, but maybe that's just a matter of taste.
ALEX CARPANI describes the album as "a bit like a small paper boat floating in the ocean of life between storms and gigantic waves, trying not to sink without ever knowing its final destination". It will be released on December 6, 2024 on his label "Independent Records" as a CD with a 20-page booklet and digitally via "Distrokid". The artwork is also worth seeing, created by Gigi Cavalli Cocci. You can try out videos on youtube. But organize the album and listen to the two suites in their entirety. It's worth it.

Wertung:
Album: A Good Man 8.5 | 10
Suite 1 “Amnesia” 9 | 10
Suite 2 “Good And Evil” 8 | 10

Credits:
ALEX CARPANI | Komposition, Text, Arrangement, Produktion, Gesang, Keyboard, Effekte

BRUNO FARINELLI | Schlagzeug
GIAMBATTISTA GIORGI | Bass
EMILIANO FANTUZZI | Gitarren
ALESSIO ALBERGHINI | Sopransaxofon
VALENTINA VANINI | Mezzosopran

No. 06
ARTISTS & BANDS (review)
https://www.artistsandbands.org/ver2/recensioni/recensioni-album/11742-alex-carpani-the-good-man
by Gianluca Livi

Il nuovo album di Alex Carpani esprime un'accentuata stratificazione sonora qualificandosi tout court quale sintesi musicale di un percorso artistico forgiato da 6 precedenti uscite discografiche e da una attività live, tuttora in corso, piuttosto corposa.
Soccorre, al riguardo, il diretto interessato, secondo il quale, questa nuova fatica "sintetizza e rappresenta il mio stile e i generi nei quali mi sono espresso negli anni: il rock, il prog, il prog-metal, il rock sinfonico, la musica sinfonica, l’elettronica, l’ambient".
Composto da due lunghe suite di poco meno di 30 minuti ciascuna, entrambe suddivise in 9 parti, "The Good Man" si qualifica quale opera ambiziosa, assai stratificata, ove, effettivamente, il percorso sonoro si snoda attraverso differenti realtà musicali, sempre contestualizzate.
Che si tratti delle vorticose propensioni espresse in "Perfect Chaos" o degli eterei riscontri di "Flashbacks", passando per gli evidenti richiami a vocazione classica di "Past Life" e per il pur lambito riscontro prog-metal che tipizza "Flirting With Darkness", l'intera opera si manifesta quale piena espressione di un universo così talmente sfaccettato, da abbracciare il concetto di "multiverso sonoro", nel quale il prog funge da indiscutibile collante a presa immediata.
Tale diversità è anche testimoniata dalla presenza di ambiti trasversali, ma amabilmente incastrati, come gli incubi ambient di "On A Train", la rilassatezza magnetica di "Stillness and Ecstasy" e la sontuosità di "Mystical" (gli ultimi due pezzi, peraltro, sono sublimati rispettivamente dalla presenza di un sax assai suadente e di un organo a canne di stampo magniloquente).
Questo album si lascia alle spalle certi manierismi tipici del prog settantiano, specie a vocazione barocca e romantica, per guardare coraggiosamente al presente, grazie ad una forma mentis incredibilmente e aperta.

No. 07
LAZLAND (review)
https://lazland.org/album-reviews-2024-part-the-second/alex-carpani-the-good-man
by Steve Lazenby

Italy has produced so many fine progressive artists over the past decades, and it remains an extremely important artistic hub for our music.
In modern times, I believe that no serious conversation about Italian intelligent rock music can be held without considering Alex Carpani, whose debut album, Waterline, was extremely well received in 2007, and it has simply gotten better since. Since reviewing his Microcosm in 2022, I have thoroughly enjoyed exploring this talented artist’s music further, and you can do so by visiting https://alexcarpani.bandcamp.com/music . Come 2024, he brings us The Good Man, an album which really should be reaching critics “best of” lists come the next few weeks.
It is released on December 6th via his own label, Independent Artists Records, and you can purchase it at https://www.pickuprecords.it/the-good-man-iar-04-2999999107327.html
For this album, Carpani provides lead & backing vocals, and plays keyboards, virtual orchestra, drum machine, synth bass, virtual guitars, and his collaborators are Bruno Farinelli on drums; Giambattista Giorgi playing bass; Emiliano Fantuzzi on guitars; Alessio Alberghini with soprano sax; and Valentina Vanini, the stunning mezzosoprano voice.
There are two epic suites, Amnesiac first, then Good & Evil, each divided into nine segments and is a fascinating experience in storytelling, lived through the folds and fragilities of the human mind, the strength of our passions and that need to be, to live, and believe in something, no matter what. I relate to this extremely strongly. The Good Man is a tiny paper boat that floats, trying not to sink, in an endless ocean, between storms and huge waves, without ever knowing its destination. How fascinating is that?
I think this work is nothing short of essential, and it is one of those albums which demands to be heard as a whole, to have the listener immerse him or herself in this sea of sound and quality. So, let’s attempt to bring you a cogent and coherent summary.
Amnesiac describes the experience of deep amnesia over the course of a day, and the fear and chaos which accompanies it. Indeed, the opening instrumental, On A Train, is a disturbing listen. You are on it, but not on it, not sure if it is a real memory, and experience through the speakers that this is not a pleasant thing, the screeching guitar solo at the death leading perfectly into the dystopia of Perfect Chaos, which has some stunning vocals and a wall of sound. We have a video for this, and it is embedded below. The protagonist is lost in haze and thoughts.
Throughout the album, Carpani provides us with just about the perfect blend of post rock, symphonic, and pastoral music. When there is anger, as in The Edge of My Mind, it is real, not perceived, the crunching riffs and thumping rhythm section pumping it out to the words, and then contrast this to the raw beauty of Diamond in the Rough which follows immediately, the reassuring words that the world should not be allowed to bring the queen of this sleepy town down, and this reasserts itself with the lush light of sound, with the gorgeous voice of Vanini crying her soul out against the soundscapes created by Carpani on Past Life.
Heart Calling has some sumptuous mellotron, probably the best use of that favourite instrument of mine I have heard this year, as the hail of noise calls out, the main theme of the nightmare of amnesia reasserting itself strongly.
The final two parts of the suite are gorgeous instrumentals, As Light Returns at The End of the Day, the nightmare finally over, memory returning, and, as you might expect, the pastoral warmth is so strong, some gorgeous orchestration, Alberghini supreme on the sax, and the return of that lush female choral voice taking you to another emotional level altogether, and featuring some fine solo guitar work as well. The futuristic sonic effects at the final 90 seconds are interesting before leading into the return of the train, this time remembered.
The second suite describes an experience eternally poised between good and evil, waves and frequencies from the depths of time and space, and, with all the noise we presently hear regarding AI (this being the phrase of choice in virtually every single corporate advert you see or hear at present, all, naturally extolling its virtues), interestingly the flow of people who like automatons advancing without rebelling.
It opens with the short introduction, Lost Frequencies, a latter Floydian buildup to the main proceedings, segueing into the march of The Flow, a bright song with the protagonist in a happy place following his instincts and the stars in search of love, some of this decidedly playful.
P.T.S.D. examines the guilt and trauma of the past, carrying the weight of battles seen, that soprano voice returning to instant impact on a triumphant orchestral beginning which then expands into a far darker set of guitar and voice led riffs, this bringing to life the battles being waged within.
Stillness and Ecstasy is simply beautiful, a spacey delight with the sax leading a gorgeous charge in your senses accompanied by that voice again, the whole piece expanding in a glorious symphonic noise.
We have a video for part five, Flirting With Darkness. It’s a terrific rocker, detailing the conflict within, but still wishing to find that love. There is some fine mellotron and organ work amongst the riffs, with some brilliant drums work by Farinelli. This is a track which ought to be a hit single.
Mystical is, to me, the centrepiece instrumentally of the entire album, around which everything else circles with its speeches, dramatic organ, the best you will have heard since a certain Mr Wakeman tinkled the ivories in Switzerland back in the day, leading the way for a rip-roaring journey interspersed with some utterly beautiful choral voice and soundscapes. Superb, and a very strong contender for my instrumental track of the year, and this is a crowded field, I might add. Everything that is good about this composer and musician is encapsulated in this magical six minutes of music.
As this wonder segues into Leaving Our Path, the racing riffs and words take us to the ghosts of the night and whispers of the past haunting us continually in a short, pacy piece of music leading into the instrumental, and penultimate piece, Masquerade, a decidedly mystical song, the soprano guiding us with some juicy grooves.
We close with Everything Falls Into Place, the protagonist safe in his lover’s arms, everything now back in place at the close of the journey, children in the background, with just over three minutes of rock music bringing everything musically to a satisfying conclusion.
It all sounds so incredible and lush. The beauty of the short Flashbacks on the first suite, for example, genuinely taking you to an inner world surrounded by the experience of the song, so we must give a shout out to the knobs man, Daniele Bagnoli at Bagnoli Bros Studio. Sonically perfect, sir.
Now, I know it’s Christmas just around the corner, and you have probably all spent a lot on CDs all year round, but The Good Man is, I must tell you, another of those essential purchases. It is simply wonderful. Tell you what? Have a word with the “significant other”, or the kids, mum/dad, nieces/nephews, Santa himself, and get it on the prezzie list! You will not regret it.

No. 08
BABYBLAUE-SEITEN (review)
https://www.babyblaue-seiten.de/album_21937.html#oben
by Siggy Zielinski

It is not without reason that Alex Carpani's job description reads like the good basis for impressive symphonic prog: "vocals, keyboards, virtual orchestra, drum machine, synth bass, virtual guitars". On his seventh album "The Good Man" there are two multi-part long tracks on the ears, each lasting almost half an hour. The stylistic versatility is indicated by a participating soprano saxophonist and a lady in her role as mezzo-soprano.
"The Good Man" is a conceptual work about states, weaknesses, emotions and needs that drive or hinder a person. A human being is comparable to a paper boat exposed to the roaring waves of fate.
Fittingly, the first long track (here called Suite) "Amnesiac" deals with memory loss for one day, so that the character sung about in the piece has to go through a desperate search for identity in the seemingly chaotic world. For a chaotic search for identity, the music nevertheless seems well organized.
The theme of the second long track "Good And Evil" is the battle between good and evil mentioned in the title as well as the mystical experiences of all kinds, the post-traumatic experiences and the attraction of darkness. This suite also includes excursions into organ music and the world of floating mystical sounds. I think the artist also used the speaking voice of a pope.
Stylistically, the versatile symphonic prog moves between the outgoing prog metal/hard rock parts, the epic vocal themes, the jazzy passages, the radio play-like, electronic and cinematic moments of relaxation, the symphonic arranged fragments, the modern and alternative prog borrowings, the operatic singing, the spherical art rock excursions and the ideas based on good old retro prog. Overall, there is rather little singing. The ambitious composer usually relies on the power and charisma of instrumental music, or on the wordless women's singing.
It's best to order it right away, because the album is good.

No. 09
NEW UNDERGROUND MUSIC (review)
https://carrysnewundergroundmusic.blogspot.com/2024/12/review-alex-carpani-good-man.html
by Carry Munter

ENG
Alex Carpani from Bologna, Italy, is a composer, singer, keyboards player and producer who has been releasing his music since 2007 and is also the co-founder of the band Aerostation, which he formed together with drummer Gigi Cavalli Cocchi and released the debut album "Aerostation" on October 5, 2018.
Alex has released the following albums: "Waterline" (September 18, 2007 CD), "The Sanctuary" (October 24, 2010 CD and digital album), "4 Destinies" (March 31, 2014 CD and digital album), "So Close. So Far." (March 4, 2016 CD and digital album), "L'Orizzonte Degli Eventi" (July 24, 2020 CD and digital album) and on April 29, 2022 the album "Microcosm" was released through his label Independent Artist Records as a limited edition CD and as a digital album.
On December 6, Independent Artist Records will release his album "The Good Man" as a digipak CD, including a 20-page booklet and the album will also be released as a digital download via Distrokid.
The album contains 2 suites ("Amnesiac" and "Good & Evil") both divided into 9 parts, so in fact the CD consists of 18 songs; "Amnesiac Part 2 Perfect Chaos" and "Good And Evil Part 5 Flirting With Darkness" have been released as singles.
The musicians playing on this album are: Alex Carpani - vocals, backing vocals, keyboards, drum machine, bass synthesizer, virtual orchestra and virtual guitar; Bruno Parinelli - drums; Giambattista Giorgi - bass guitar; Emiliano Fantuzzi - lead guitar; Alessio Alberghini - soprano saxophone; Valentina Vanini - mezzosoprano vocals.
The album starts with "Amnesiac" with part 1 "On A Train", in which Alex Carpani performs a beautiful electronic piece of music at a slow rhythm, with heavy sounds evoking a dark atmosphere; it is followed by part 2 "Perfect Chaos", a great melodic rock song with a medium tempo and an infectious rhythm (listen to this song via the youtube link below the review); then comes part 3 "Flashbacks", a short song with spoken lyrics and an average tempo; apart 4 "The Edge Of My Mind" has a nice quiet starting that gets more speedy after a short time and starts swinging; part 5 "Diamond In The Rough" is a beautiful song with a not too high tempo and a catchy rhythm, which gets a little more speed halfway through; part 6 "Past Life" is a symphonic song with an average tempo, which slows down after about a minute and is accompanied by heavenly vocals; part 7 "Heart Calling" starts with heavenly sounds and then changes after a short time into an uptempo symphonic piece of music, which swings like a train; part 8 "As Light Returns" is a great instrumental symphonic song with an average tempo and a catchy rhythm; part 9 "End Of The Day" is a swinging song with an average tempo and heavenly vocal sounds.
The first part of "Good & Evil" is called "Last Frequencies" and it features a short slow electronic song with spoken lyrics; part 2 "The Flow" is a beautiful melodic pop song with a medium tempo and a recurring rhythm; part 3 "P.T.S.D." is a beautiful song with changing tempos and a catchy rhythm; part 4 "Stillness & Ecstasy" is a beautiful song with an average tempo and heavenly vocals; part 5 "Flirting With Darkness" is a fine solid swinging melodic rock song with a danceable recurring rhythm; part 6
"Mystical" starts with spoken text and after a short time it turns into a piece that has ecclesiastical influences and turns this temporarily changes into a swinging song, played more slowly and heavenly, with vocals added; part 7 "Leaving The Path" is a wonderful melodic song with a catchy danceable rhythm; part 8 "Masquerade" is a delightful song with an average tempo, which also contains heavenly vocals and a danceable rhythm; part 9 "Everything Falls Into Place" is a fantastic swinging song with a recurring rhythm, which encourages dancing and ends in rest.
"The Good Man" by Alex Carpani is full of delightful melodic/symphonic songs, which I enjoyed immensely from start to finish and I strongly recommend this masterful disc to every lover of this genre.
4,5/5 stars

No. 10
SEA OF TRANQUILITY (review)
https://www.seaoftranquility.org/reviews.php?op=showcontent&id=25040
by Aaron Steelman

The sixth studio release from the Italian multi-instrumentalist and vocalist Alex Carpani is a winner. It is made up of two lengthy (28 minute plus) concept suites, each with nine parts. The first suite deals with a day in the life of an amnesiac. The second describes the decisions and events, past and present, people have to grapple with to live an honest and satisfying life.
I won’t go into the individual tracks for each of the suites because they are meant to be listened to as a whole, and that is how I approached the album. While nine of the 18 total tracks are listed as instrumentals, the total instrumental time is much greater, as Carpani’s sometimes soaring vocals are sparse. And what music it is: great symphonic prog that draws from the 70s and features more modern takes on the genre also.
English is not Carpani’s native language, but you wouldn’t know it from the lyrics. Although there aren’t many of them, they are evocative. Combined with the music, one gets the sense of the concepts he aims to present, and the story arcs are well structured.
Carpani has a knack for attracting gifted guest musicians for his albums. On his last release, Microcosm, David Cross (formerly of King Crimson) played violin, David Jackson (formerly of Van der Graaf Generator) played saxophone and flute, and Jon Davison (currently of Yes) provided vocals, for instance. This time around, Carpani is joined by Bruno Farinelli (drums), Giambattista Giorgi (bass), Emiliano Fantuzzi (guitars), Alessio Alberghini (soprano sax), and Valentina Vanini (mezzo-soprano voice).
The Good Man will be released on December 6th. I recommend checking it out, as well as the rest of Carpani’s catalog.

Track Listing

Amnesiac (28:42)
1. On A Train (2:09) instrumental
2. The Perfect Chaos (4:41)
3. Flashbacks (1:30) instrumental
4. The Edge Of My Mind (3:56)
5. Diamond In The Rough (1:55)
6. Past Life (3:12) instrumental
7. Heart Calling (2:51)
8. As Light Returns (4:03) instrumental
9. End Of The Day (4:21) instrumental

Good And Evil (28:25)
10. Lost Frequencies (1:17) instrumental
11. The Flow (3:54)
12. P.T.S.D. (3:33)
13. Stillness and Ecstasy (2:33) instrumental
14. Flirting With Darkness (3:40)
15. Mystical (5:51) instrumental
16. Leaving The Path (1:52)
17. Masquerade (2:42) instrumental
18. Everything Falls Into Place (3:09)
Added: December 1st 2024 Reviewer: Aaron Steelman Score: 4,5/5 stars

No. 11
COSMOS MUSIC (review)
https://cosmosmusic.fr/produit/carpani-alex-the-good-man/
by Aaron Steelman

D’entrée, on découvre que le septième album de Alex Carpani est le plus ambitieux de sa discographie, entamée en 2007 avec Waterline. 
The Good Man est constitué de deux longs morceaux divisés en plusieurs parties enchaînées, d’une durée de près d’une demi-heure chacun. La polyvalence stylistique est notamment indiquée par la participation d’un saxophoniste soprano et d’une divine mezzo soprano. The Good Man est une œuvre conceptuelle évoquant les conditions, les faiblesses, les émotions et les besoins qui animent une personne ou l’entravent. Une personne peut être comparée à un bateau en papier exposé aux vagues déchaînées du destin. Dans cette optique, la première suite, « Amnesiac », évoque la perte de mémoire pendant une journée du personnage principal de l’album, le conduisant à rechercher désespérément son identité dans un monde apparemment chaotique. Le thème du deuxième morceau, « Good And Evil », est la bataille entre le bien et le mal mentionnée dans le titre, ainsi que les expériences mystiques de toutes sortes, les expériences post-traumatiques et l’attrait de l’obscurité.
Tout cela est mis en musique avec brio, donnant vie à un prog symphonique bouillonnant d’une grande richesse. 
The Good Man est non seulement une superbe réussite mais également l’oeuvre la plus personnelle de Alex Carpani, celle en tout cas où il a réussi à amalgamer toutes ses influences (Genesis, Peter Gabriel et Pink Floyd en tête).
Voici un album ambitieux, mélodique et extrêmement vivant qui, par sa créativité (symphonisme, néo prog, musique électronique, AOR, Ambient, prog metal, etc.) donne son plein sens au terme progressif ! Magnifique, que dire d’autre ?!

No. 12
METAL.IT (review)
https://metal.it/album.aspx/51744/31644/carpani-alex-the-good-man/
by Gabriele Marangoni

Alex Carpani ritorna con un gran bel disco composto da due suite, la prima che “descrive un’amnesia profonda vissuta nell’arco di una giornata” e la seconda relativa a “un’esperienza in eterno bilico tra il bene e il male”.
Senza addentrarmi troppo nell’affascinante concept ideato dal tastierista, vi basti sapere che la musica contenuta in “The Good Man” è davvero buona, e passa dall’heavy prog dai tratti crimsonici di “The Perfect Chaos” al neo-prog più ricercato di Marillion e simili (“As Light Returns”, “End Of The Day”). “The Edge Of My Mind” si muove tra Anathema e Porcupine Tree, mentre lo spettro di Steven Wilson aleggia sulle ottime “The Flow”, “Flirting With Darkness” e “Everything Falls Into Place”.
In “Mystical” emerge il virtuoso di stampo prog, mentre gli episodi cinematografici sono quelli più sorprendenti, con evidenti omaggi al genio di Ennio Morricone in “Past Life”, “P.T.S.D.” e “Masquerade”, e con un deciso picco di intensità nell’accattivante “Stillness And Ecstasy”.

Un album proprio ispirato.

No. 13
PROGRESSOR.NET (review)
https://www.facebook.com/photo?fbid=1157897496336063&set=pb.100063474700198.-2207520000&locale=it_IT
by Olav Martin Bjørnsen

Italian artist Alex Carpani is out with the album "The Good Man", and progressive rock is the style explored on this production. In this case we get a varied and dynamic journey through the progressive rock universe, explored in two multiple part epic length compositions. Melodic, elegant and accessible landscapes is the defining element here, with the compositions exploring a number of different modes and moods along the way.
Borderline cinematic and ambient excursions and more flamboyant runs through the symphonic progressive rock universe are both present, with the odd side step into more sacral music and a tad of jazz along the way too. But more profound are all the parts that revolve around distinctly melodic, firm and elegant ventures into what one might describe as melodic progressive rock, of the kind that German band Sylvan explored in such an enthralling manner some years back.
Occasionally with a quirkier or harder edge applied, with a couple of the parts bordering a hard progressive rock expression.
An album to seek out by those with a desire for a compelling, dynamic and varied journey through an accessible and compelling variety of melodic progressive rock.

No. 14
PROG CRITIQUE (review)
https://progcritique.com/alex-carpani-the-good-man/
by Gabriel

Un album qui fera surement son entrée dans mon top 12 de 2024, c’est ‘The Good Man’ d’Alex Carpani, un claviériste, multi-instrumentiste et compositeur particulièrement performant. Deux longues suites épiques de plus de 28 minutes chacune (Amnesiac & Good and Evil), divisées respectivement en neuf parties, nous entrainent dans une histoire où Alex exprime ‘son vécue à travers les replis et les fragilités de l’esprit humain, la force de ses passions et ce besoin d’être, de vivre et de croire en quelque chose, quoi qu’il arrive’.
Un album conceptuel où chaque morceau est soigneusement pensé et qui n’a aucun mal à proposer, avec une musique coulant naturellement, une heure d’écoute tout simplement captivante. Côté genres musicaux, Alex Carpani nous offre, dans une belle cohésion, une palette élargie de musique progressive et symphonique. Il suffit d’écouter, dans la première suite ‘Amnesiac‘, l’instrumental d’ouverture « On A Train » suivi de « Perfect Chaos » au chant puissant et refrain percutant, pour se faire une idée du niveau qualitatif des compositions.
‘The Good Man’ est un album qui demande à être entendu dans son intégralité, pour s’immerger pleinement dans son univers et en apprécier toute la richesse, mais loin d’être rébarbative cette écoute est favorisée par l’alternance de pièces atmosphériques et de titres plus dynamiques.
Alex Carpani nous offre une œuvre ambitieuse où chaque composition nous invite à voyager sur une musique de qualité parfaitement interprétée. ‘The Good Man’ un album qui grandit à chaque écoute, et semble être fait sur mesure pour satisfaire tous les amateurs de bon rock progressif.

An album that will surely make its way into my top 12 of 2024 is ' The Good Man ' by Alex Carpani , a particularly capable keyboardist, multi-instrumentalist and composer. Two long epic suites of more than 28 minutes each ( Amnesiac & Good and Evil ), divided into nine parts respectively, take us into a story where Alex expresses ' his experience through the folds and fragilities of the human spirit, the strength of his passions and this need to be, to live and to believe in something, no matter what'.
A conceptual album where each piece is carefully thought out and which has no trouble offering, with naturally flowing music, an hour of simply captivating listening. In terms of musical genres, Alex Carpani offers us, in a beautiful cohesion, a broad palette of progressive and symphonic music. You just have to listen, in the first suite ' Amnesiac ', to the opening instrumental " On A Train " followed by " Perfect Chaos " with its powerful vocals and punchy chorus, to get an idea of ​​the quality level of the compositions.
' The Good Man ' is an album that demands to be heard in its entirety, to fully immerse oneself in its universe and appreciate all its richness, but far from being boring, this listening is favored by the alternation of atmospheric pieces and more dynamic titles.
Alex Carpani offers us an ambitious work where each composition invites us to travel on a perfectly interpreted quality music. ' The Good Man ' an album that grows with each listening, and seems to be tailor-made to satisfy all lovers of good progressive rock.

4,5/5 stars

No. 15
MUSIC WAVES (review)
https://musicwaves.fr/frmReview.aspx?ID=21855&REF=ALEX-CARPANI_The-Good-Man
by Adrian Stork

"Pour son septième album solo, Alex Carpani nous offre une pièce maîtresse progressive aux confins des genres." 5/5

Alex Carpani, le claviériste italo-suisse que l'on ne présente plus, s'était un peu perdu sur "L'Orizzonte Degli Eventi" qui mélangeait guitares virtuelles et progressif pas assez inspiré. Il a su rebondir deux ans plus tard en avec "Microcosm" plus aventureux que son prédécesseur. Le voici de retour en 2024 avec un nouveau concept illustré par une pochette sur laquelle un octopode géant s'empare goulûment d'une goélette tandis que des avions militaires zèbrent un ciel inquiétant.
L'album est composé de deux grosses pistes intitulées 'Amnesiac' et 'Good And Evil' qui dépassent toutes deux les 28 minutes, chacune d'elles étant divisée en neuf tableaux. Un pari où chaque seconde se doit d’être passionnante, et heureusement celles-ci le sont ! Alex Carpani a su digérer ses influences progressives pour les intégrer dans un melting pot de genres : des séquences hard rock, jazz ('As Light Return', 'Stillmess And Ecstasy', 'Masquerade"), pop et symphoniques ('Part Life') se relancent sans cesse la balle. "The Good Man" oscille entre le souffle chaud des guitares volcaniques et la bise des claviers dans une mer sonore agitée, en particulier sur 'The Edge Of My Mind'. Et lorsque sur 'Mystical' l'orgue s'embarque dans une fugue improvisée lancé par de rigoureux chants grégoriens et relayée par les coups de boutoir de la batterie, nous pouvons nous dire qu'Alex Carpani n'a pas lésiné sur les moyens pour nous envoûter.
Le chant volontaire et généreux d'Alex Carpani est toujours aussi poignant et rappelle parfois celui de Frank Bornemann dans Eloy, l'accent italien en plus. L'artiste n'intervient qu'à des moments-clés de son intrigue sonore, évitant de surcharger ses compositions de paroles et laissant la musique s'exprimer. Il est toutefois secondé de Valentina Vanini, chanteuse mezzo-soprano dont les envolées enchanteresses ouvrent une dimension symphonique voire opératique et renouent avec la grâce de l'émotion pure exprimée notamment dans le domaine du prog par une Annie Haslam (Renaissance).
Sur son septième album, Alex Carpani nous régale en nous proposant avec succès un voyage au long cours ouvert à tous les vents. Il s'agit à ce jour du magnum opus d'un vrai passionné du rock progressif, s"affirmant comme l'un des étendards modernes les plus passionnants du genre.

GROUPES PROCHES:
ELP, PINK FLOYD, CHAOS VENTURE, PREMIATA FORNERIA MARCONI, KEITH EMERSON BAND, GENESIS, VAN DER GRAAF GENERATOR, TONY BANKS, THE AUSTRALIAN PINK FLOYD 

LISTE DES PISTES:
01. Amnesiac: On A Train - 2:10
02. Amnesiac: Perfect Chaos - 4:41
03. Amnesiac: Flashbacks - - 1:30
04. Amnesiac: The Edge Of My Mind - 3:57
05. Amnesiac: Diamond In The Rough - - 1:55
06. Amnesiac: Past Life - 4:21
07. Amnesiac: Heart Calling - 2:51
08. Amnesiac: As Light Returns - 3:42
09. Amnesiac: End Of The Day - 4:41
10. Good And Evil: Lost Frequencies - 0:57
11. Good And Evil: The Flow - 4:13
12. Good And Evil: P.T.S.D. - 3:52
13. Good And Evil: Stillness And Ecstasy - 2:15
14. Good And Evil: Flirting With Darkness - 4:11
15. Good And Evil: Mystical - 5:39
16. Good And Evil: Leaving The Path - - 1:32
17. Good And Evil: Masquerade - 2:42
18. Good And Evil: Everything Falls Into Place - 3:09

FORMATION:
Alessio Alberghini: Saxophone
Alex Carpani: Chant / Guitares / Claviers
Bruno Farinelli: Batterie
Emiliano Fantuzzi: Guitares
Giambattista Giorgi: Basse

No. 16
EXCLUSIVE MAGAZINE (review)
https://annecarlini.com/ex_cd.php?id=5909
by Russell A. Trunk

Title - The Good Man
Artist - Alex Caprani

For those unaware, Alex Carpani is an Italian-French composer, keyboardist, singer, producer, musicologist and artistic director. He graduated in DAMS (musicology) at the University of Bologna with a thesis on the music of Nino Rota in Fellini’s films that won the 1st prize of the Fellini Foundation.
He graduated at CET (a famous Italian music school) in composition and arrangement of music for films with Stelvio Cipriani, after having won a European Union scholarship that allowed him to attend the school. He has written and self-produced a great amount of instrumental music for more than 15 years: new age, electronic music, symphonic music, music mixed with poetry, drum’n’bass, electro-jazz, music for theatre shows and documentaries.
Since 2007 he has dedicated himself to rock, releasing 8 rock albums with Italian and foreign labels which had positive feedback with both audience and critics, allowing him to collaborate, in studio and live, with some well known musicians of the national and international scene, such as David Jackson of Van der Graaf Generator, David Cross of King Crimson, Theo Travis of Soft Machine, Jon Davison of Yes, Paul Whitehead, graphic designer of early Genesis, Aldo Tagliapietra of Le Orme, Bernardo Lanzetti of Acqua Fragile and PFM.
He has performed more than 140 concerts in 21 countries of 3 continents with his band, appearing in the most important live clubs and festivals of the international progressive rock field. He has founded the band Aerostation with Gigi Cavalli Cocchi (former drummer of Ligabue, Clan Destino, C.S.I.) releasing in 2018 the homonym debut album with Aerostella/Immaginifica label, performing concerts in Italy and abroad and opening for PFM at major events as well. Aerostation’s new album Rethink will be released in 2025.
His brand new solo album is entitled The Good Man and was released this past December 6th, 2024, via his own label Independent Artist Records, and I will allow Alex himself to explain what it is all about: “Musically, TGM is, perhaps, the album of my discography that most of all summarizes and represents my style and the genres in which I have expressed myself over the years: rock, prog, prog-metal, symphonic rock, symphonic music, electronic, ambient. The line-up also includes a mezzo-soprano singer, because the music has at times lyrical, almost cinematic characters.”
“The album consists of 2 suites of about 28 minutes each, each divided into 9 parts, so there are 18 tracks in all. The good man is a bit like a tiny paper boat floating, trying not to sink, in the ocean of life, between storms and gigantic waves, without ever knowing its final destination.”

1. Amnesiac (full version) [28:42]
2. Good And Evil (full version) [28:24]
3. Amnesiac part 1 On A Train [2:09]
4. Amnesiac part 2 Perfect Chaos [4:41]
5. Amnesiac part 3 Flashbacks [1:30]
6. Amnesiac part 4 The Edge Of My Mind [3:56]
7. Amnesiac part 5 Diamond In The Rough [1:55]
8. Amnesiac part 6 Past Life [3:12]
9. Amnesiac part 7 Heart Calling [2:51]
10. Amnesiac part 8 As Light Returns [4:02]
11. Amnesiac part 9 End Of The Day [4:20]
12. Good And Evil part 1 Lost Frequencies [1:07]
13. Good And Evil part 2 The Flow [3:53]
14. Good And Evil part 3 P.T.S.D. [3:32]
15. Good And Evil part 4 Stillness And Ecstasy [2:33]
16. Good And Evil part 5 Flirting With Darkness [3:39]
17. Good And Evil part 6 Mystical [5:51]
18. Good And Evil part 7 Leaving The Path [1:52]
19. Good And Evil part 8 Masquerade [2:42]
20. Good And Evil part 9 Everything Falls Into Place [3:09]

The album opens on the two full-length tracks at nearly half an hour each, the esoterically-sculpted Amnesiac (full version) and the jagged, static-charged, at first, latterly sweeping and prog-tastic Good And Evil, but then brings us their internal breakdowns: these open on the Eastern-imbibed, fuzzy ambiance of Amnesiac part 1 On A Train, the fervently driven part 2 Perfect Chaos, the atmospheric part 3, the all-embracing musical magnitude of part 4 The Edge Of My Mind, and then we get the veritably translucent part 5 Diamond In The Rough, the sweepingly orchestral prog of part 6 Past Life, the work rounding out on the ethereal part 7 Heart Calling, the prog-Celt vibed part 8 As Light Returns, closing on the AOR of part 9 End Of The Day.
The second work opens on the musical static nuances of Good And Evil part 1 Lost Frequencies and the free flowing melodies that drives part 2 The Flow, and they are in turn backed seamlessly by the hauntingly effervescent part 3 P.T.S.D., the impassioned sternness, initially, completely transcendent the next of part 4 Stillness And Ecstasy, the propellent rocker part 5 Flirting With Darkness, the work rounding out on the papal chanting, accompanied dutiful by the organ of part 6 Mystical, the powerful part 7 Leaving The Path, coming to a close on the mid-tempo, smoothly cultured jazz-prog of part 8 Masquerade and the drum led rock of part 9 Everything Falls Into Place.
The brand new album will be distributed for physical copies (digipak CD with 20-page booklet) by Pick-Up Records and on major digital platforms through Distrokid.

No. 17
PROG RADIO (review)
https://www.progradio.com/reviews/the-good-man
by Kevin Carmony

The Good Man
Alex Carpani
Italy

Although this album wasn’t given a full review, it has been carefully listened to and evaluated by Prog Radio and given a Star rating.
You can enjoy tracks from this album in rotation at Prog Radio. (The higher the Star rating, the more tracks we will be playing and with more frequency.)
Look for songs from this and other new albums to be featured in our "What's New Proggy Cats?" broadcast. You're also welcome to request songs by this artist and album on Prog Radio.
5/5

No. 18
METAL HAMMER - POLAND (review)
https://www.metalmind.com.pl/
by Artur Chachlowski



No. 19
LASER CD (review)
https://www.lasercd.com/cd/good-man
by Ken Golden

"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." - ProgArchives

No. 20
LOS ENDOS (review)
https://los-endos.com/alex-carpani-the-good-man/
by Ken Golden

THE GOOD MAN
İtalyan Neo-Prog sanatçısı Alex Carpani, merakla beklenen yeni albümü The Good Man'i 6 Aralık 2024'te müzikseverlerle buluşturmaya hazırlanıyor. Carpani'nin bağımsız plak şirketi Independent Artist Records etiketiyle çıkacak albüm, Pick-Up Records aracılığıyla fiziksel formatta (20 sayfalık kitapçığa sahip digipak CD) dağıtılacak. Albüm aynı zamanda dijital platformlarda Distrokid üzerinden yayınlanacak.
The Good Man, her biri yaklaşık 28 dakikalık iki süitten oluşuyor ve her suit 9 parçaya ayrılmış durumda. Bu da albümde toplam 18 parça bulunduğunu gösteriyor. Carpani, albümün yıllar boyunca ifade ettiği tarzları sentezleyerek, rock, prog, prog-metal, senfonik rock, elektronik ve ambient türlerini bir araya getirdiğini belirtiyor. Ayrıca, albümde yer alan mezzo-soprano bir şarkıcı, müziğe zaman zaman sinematik, lirik bir karakter kazandırıyor.
Carpani, The Good Man albümünde, yaşamın okyanusunda fırtınalar ve dev dalgalar arasında yüzen, nereye varacağını bilmeyen küçük bir kağıt gemi metaforuyla "iyi adam"ın hayat yolculuğunu anlatıyor.

No. 21
PROG U.K. (review)
https://www.loudersound.com/prog
by JMB

Engrossing existential voyage from art/prog rock maestro

The follow-up to 2022's Microcosm, The Good Man finds Italian composer Alex Carpani fusing intricate arrangements and metaphysical contemplations into a captivating journey.
While Carpani insists the album "represents an uninterrupted story", it's broken into two halves-hour suites, Amnesiac and Good And Evil, each with distinctive personalities. spacey opening song Amnesiac evokes the abstract sound collages of Lunatic Soul before the singalong hooks, hypnotic guitar riffs, vibrant synths, and soothing saxophones of Perfect Chaos and Heart Calling conjure Transatlantic and Eloy. Coupled with ethereal chants and celestial detours across Past Life and End Of The Day, it's a beautifully profound and adventurous sequence.
Good And Evil is the more traditionally 'froggy' of the two halves, with the aggressive P.T.S.D. and the catchy-yet-chaotic Everything Falls Into Place offering more variety and instrumental sophistication.
Some of The Good Man could be more concise and less repetitious - particularly the prolonged Flashbacks - but it's an otherwise absorbing and meaningful listen.

No. 22
MUSICALNEWS.COM (review)
https://www.musicalnews.com/2024/12/31/the-good-man-il-nuovo-album-del-prog-rocker-alex-carpani/
by Giancarlo Passarella

Edito da Pick Up Records, viene definito dallo stesso artista come la summa dei vari campi in cui recentemente è cresciuta la sua voglia di creare: rock, prog, prog-metal, rock sinfonico, musica sinfonica, elettronica, ambient.. Ricordo quando siamo stati media partner del Verona Prog Festival 2009 ed ad Alex Carpani fu data l’oppotunità di aprire la serata con The Strawbs.
Da un punto di vista biografico, Alex Enrico Carpani è nato (da padre italiano e madre francese) a Montreux il 7 Gennaio 1970, ma da anni è residente a Bologna.
Il nuovo album è composto da 2 suite di circa 28 minuti ciascuna, divise in 9 parti, per 18 tracce in totale. Musicalmente è forse l’album della discografia di Alex Carpani che più di tutti riassume e rappresenta il suo attuale stile. La line-up del disco comprende anche una cantante mezzosoprano perché la musica ha a tratti dei caratteri lirici, quasi cinematografici. 
The Good Man è un po’ come una minuscola barchetta di carta che galleggia, cercando di non affondare nell’oceano della vita, tra tempeste e onde gigantesche, senza mai conoscere la sua destinazione finale.
Il primo singolo dell’album (Amnesiac part 2 Perfect Chaos) è stato inserito dalla rivista inglese PROG tra le 6 migliori Tracks Of The Week di Ottobre.  

No. 23
BETREUTES PROGGEN (review)
https://www.betreutesproggen.de/2024/12/alex-carpani-the-good-man/
by Juergen Meurer

(57:03, CD, digital, Independent Artist Record, 06.12.2024) Der italienische Musiker Alex Carpani startete seine Solokarriere 2007 mit der Veröffentlichung seines Albums „Waterline“, auf dem kein Geringerer als der frühere Le Orme Sänger Aldo Tagliapietra für die Gesangsparts zuständig ist. Hier wie auch auf folgenden Alben ist er von namhaften Gästen umgeben wie beispielsweise Ettore Salati (The Watch), Tony Spada (Holding Pattern), Gigi Cavalli Cocchi (u.a. Mangala Vallis), David Jackson (Van der Graaf Generator), David Cross (King Crimson), um nur einige zu nennen.
Das neue Album besteht aus den beiden Longtracks ‚Amnesiac‘ und ‚Good and Evil‘, die es beide auf Laufzeiten von über 28 Minuten bringen. Dass der Player 18 Tracks anzeigt, liegt daran, dass beide Stücke jeweils in neun Abschnitte unterteilt wurden. Schaut man sich das feine Booklet an, fällt auf, dass recht wenig Text abgedruckt ist. Der Protagonist hat also in puncto Gesang gar nicht so viel zu tun, wobei das durchaus mehr hätte sein dürfen, denn der in Englisch vorgetragene Gesang geht durchaus in Ordnung. Doch es gibt noch einen weiteren Faktor, und da ist es schade, dass dieser nicht noch häufiger ins Spiel gebracht wurde, denn die Stimme von Mezzosopranistin Valentina Vanini ist allerfeinst und wird hier gewinnbringend eingesetzt. Als ein gutes Beispiel hierfür sei ‚Past Life‘ vom ersten Song genannt, ein wunderbarer Track, bei dem sie die orchestrale Keyboard-Begleitung perfekt ergänzt. Und auch das nachfolgende flotte ‚Heart Calling‘ und das instrumentale ‚As Light Returns‘ wiederum mit der Sopranstimme und schönem Saxophon fügen sich nahtlos ein, wobei hier auch die im typisch hymnischen Neo Prog Stil gespielte E-Gitarre zu überzeugen weiß. Schließlich taucht etwas elektronische Spielerei auf und der erste Longtrack ist damit abgeschlossen.
Es folgt mit ‚Good and Evil’ der zweite neun-teilige Longtrack, der zunächst auch mit ruhigen Synthesizern und ein paar Spielereien beginnt, ein fließender Übergang also. Der Song ‚The Flow‘ fällt dann etwas temporeicher aus, ohne allerdings wirklich heavy zu sein. ‚Masquerade‘ kommt mit starker Kirchenorgel, hat kurz auch ein bisschen was von ‚Toccata‘, während ‚Everything Falls Into Place‘ wieder das Tempo anzieht und auf peppige Weise das Album beendet.
Es bleibt nach dem ersten Durchlauf gar nicht mal so viel hängen, nur das Gefühl, dass man gerade ein sehr feines Album gehört hat, das sicherlich noch einige Hördurchgänge verdient hat. Und so lernt man im Laufe der Zeit auch die vielen kleinen Details kennen. Was sollte man als Anspieltipp empfehlen? Schwierige Frage, aber zwei Songs sollte man gehört haben, nämlich ‚Amnesiac‘ und ‚Good and Evil‘. Bewertung: 11/15 Punkten

Besetzung:
Alex Carpani – lead and backing vocals / keyboards / virtual orchestra / drum machine / synth bass / virtual guitar / compositions / production / orchestrations / arrangements
Bruno Farinelli – drums Giambattista Giorgi – bass
Emiliano Fantuzzi – electric guitars
Alessio Alberghini – soprano sax
Valentina Vanini – mezzosoprano voice

[English]
(57:03, CD, digital, Independent Artist Record, 06.12.2024)
The Italian musician Alex Carpani started his solo career in 2007 with the release of his album "Waterline", on which none other than the former Le Orme singer Aldo Tagliapietra is responsible for the vocal parts. Here, as well as on the following albums, he is surrounded by well-known guests such as Ettore Salati (The Watch), Tony Spada (Holding Pattern), Gigi Cavalli Cocchi (Mangala Vallis, among others), David Jackson (Van der Graaf Generator), David Cross (King Crimson), to name just a few.
The new album consists of the two long tracks 'Amnesiac' and 'Good and Evil', both of which have running times of over 28 minutes. The fact that the player shows 18 tracks is due to the fact that both tracks have been divided into nine sections each. If you look at the fine booklet, you will notice that there is very little text printed. So the protagonist doesn't have that much to do in terms of singing, although that could have been more, because the singing performed in English is quite okay.
But there is another factor, and it is a pity that it has not been brought into play even more often, because the voice of mezzo-soprano Valentina Vanini is very fine and is used profitably here. A good example of this is 'Past Life' from the first song, a wonderful track where she perfectly complements the orchestral keyboard accompaniment. And also the following brisk 'Heart Calling' and the instrumental 'As Light Returns' again with the soprano voice and beautiful saxophone fit in seamlessly, whereby the electric guitar played in the typical anthemic Neo Prog style also knows how to convince. Finally, some electronic gimmicks appear and the first long track is completed.
This is followed by 'Good and Evil', the second nine-part long track, which initially begins with quiet synthesizers and a few gimmicks, so it's a smooth transition. The song 'The Flow' is a bit more fast-paced, but without being really heavy. 'Masquerade' comes with a strong church organ, has a bit of 'Toccata' for a short time, while 'Everything Falls Into Place' picks up the tempo again and ends the album in an upbeat way.

After the first run, not much sticks, just the feeling that you have just listened to a very fine album, which certainly deserves a few more listens. And so you get to know the many small details over time. What should you recommend as a listening tip? Difficult question, but two songs should be heard, namely 'Amnesiac' and 'Good and Evil'.
Rating: 11/15 points

Line-up:
Besetzung:
Alex Carpani – lead and backing vocals / keyboards / virtual orchestra / drum machine / synth bass / virtual guitar / compositions / production / orchestrations / arrangements
Bruno Marinelli – drums
Giambattista Giorgi – bass
Emiliano Fantuzzi – electric guitars
Alessio Alberghini – soprano sax
Valentina Vanini – mezzosoprano voice

No. 24
TOTUM REVOLUTUM (review)
https://totumrevolutumpress.com/novetats-del-mes-de-desembre/
by David Sàez & Josep Maria Llovera

El musicòleg italià ens ofereix dues maneres d’escoltar el seu nou àlbum: O bé en dues peces de 28 minuts pels amats del prog; o bé les mateixes composicions dividides en diferents talls (val a dir que a certes plataformes estan mal titulats) per si no estem avesats a fer escoltes llargues.
Sigui com sigui, el fet és que hi ha un excel·lent treball d’un neo prog que modela el leitmotiv en ocasions, que conté els ambients atmosfèrics típics d’obres conceptuals i que utilitza els contrastos entre la contundència rockera i la delicadesa d’un saxo tenor. Tot guarnit amb una producció moderna i impecable.

No. 25
MUSIC IN BELGIUM (review)
https://musicinbelgium.net/reviews/alex-carpani-the-good-man/
by Philippe Thirionet

Le compositeur/producteur/chanteur/claviériste italien Alex Carpani en est aujourd’hui à son sixième album, tous produits par IAR (Independant Artist Records), avec ici près de 18 compositions réparties en deux grands épiques (plus de 28 minutes chacun). ’Amnesiac’ le premier épique de l’album, et qui se décompose en 9 chansons, brasse en fait de nombreux courants musicaux avec forcément une présence conséquente des claviers. L’on pourrait considérer les compositions de l’artiste italien comme progressive, à travers un rendu musical fluide et mélodique où effectivement, l’on décèle de beaux soli aux synthés. S’occupant de l’écriture et de la composition, Alex Carpani prend aussi un charge de nombreux instruments ainsi que le chant cependant, il est ici épaulé par cinq musiciens, pour assurer entre-autre le travail au saxophone. Car pour pouvoir assurer la conception d’une musique multiple-colorations allant du rock progressif au rock symphonique, en passant par le jazz-rock, il faut savoir s’épauler d’une équipe efficace. Sachez que les deux épiques sont disponibles sur la chaîne YouTube, de mon côté, je vais vous proposer quelques extraits, le Bancamp en fin de chronique vous permettant de tout découvrir. Le choix des extraits n’est pas ici facile, toutes les parties sont intéressantes à écouter, vu la richesse de la musique proposée !

L’on voyage littéralement à travers les courants musicaux, telle une conception transversale de la musique, allant de la pop au rock et finalement concevoir un néo-prog contemporain et accessible au grand public ! Comme le démontre cet autre extrait du second épique ’Good And Evil’ 

Sans plus attendre, je vous propose ci-dessous, le lien Bandcamp de cet excellent album progressif !
https://alexcarpani.bandcamp.com/album/the-good-man
Reconnaissons la véritable prouesse de cet artiste, à concevoir deux magnifiques épiques progressifs où, l’on traverse les courants musicaux de bien belle manière, touchant le rock symphonique ou encore le jazz-rock. Notons encore ce confort d’écoute, grâce à une musique le plus souvent fluide, et donc accessible. Un bien beau recueil !

NB : l’artiste italien s’est produit sur scène avec des pointures comme David Jackson, Theo Travis, David Cross…

Pays: IT IAR: Independant Artist Records Sortie: 2024/12/06
https://www.facebook.com/AlexCarpaniOfficialPage

4,5/5

No. 26
AREA ROCK (review)
https://www.arearock.it/2025/01/02/il-nuovo-disco-di-alex-carpani-the-good-man/
by staff

Il nuovo disco di Alex Carpani “The Good Man”

Passata l’ubriacatura delle feste di fine anno, all’inizio del nuovo eccoci finalmente riprendere il nostro consueto tran tran anche se, stavolta, dobbiamo correre per recuperare un po’ tutto il lavoro in sospeso che ci siam lasciati dietro. E così, in un mare di posta, è facile imbattersi in dischi usciti da un po’ proprio come quello di Alex Carpani di cui più di una volta ne abbiamo parlato sia qui, sul nostro sito, sia nelle nostre scorribande radiofoniche.
E così di fatto questa nuova produzione di Carpani dal titolo emblematico “The Good Man”, ci riporta come pubblicazione un po’ indietro nel tempo perché ha lo stile dei vecchi lp progressive di una volta; infatti ci troviamo qui con due suite di circa ventotto minuti ciascuna, suddivise in nove parti, per complessive diciotto tracce totali.
Il disco è la sintesi un progressive che viaggia anche sugli stili del neo progressive, del jazz rock e del rock ma che ha nella spina dorsale quel progressive rock a cui Alex ci ha da sempre abituato.
Stavolta Alex è riuscito però a regalarci un viaggio sonoro a tutto tondo dove la musica diventa l’essenza dell’espressività di un artista completo ed unico nel nostro panorama rock, un artista che cresce ad ogni pubblicazione e che con questo “The Good Man” conferma le sue grandi dote di compositore  oltre che di musicista.

No. 27
MELLOTRON WEB (review)
https://www.mellotronweb.com.ar/
by Andrés Pablo Valle

Uno de los lanzamientos más ambiciosos e impactantes del año es The Good Man, último trabajo del talentoso músico ítalo-francés Alex Carpani. A lo largo de dos extensas suites de algo más de 28 minutos cada una, llamadas "Amnesiac" y "Good and Evil", este disco conceptual ofrece pasajes de gran intensidad a la vez que hermosísimos instantes con arreglos imaginativos y variados, incorporando elementos de la música clásica y la usual instrumentación del rock progresivo. El resultado lo transforma en uno de los mejores álbumes progresivos editados en 2024.

La gacetilla de The Good Man expresa lo siguiente:
El álbum se compone de dos largas suites y representa una historia ininterrumpida, una experiencia vivida en medio de los pliegues y fragilidades de la mente humana, a través de los infinitos matices de nuestras emociones y sentimientos. Constantemente en equilibrio y a merced de nuestros límites y debilidades, nuestras vidas se alimentan de la fuerza de las pasiones y de la incesante necesidad de vivir, conocer y creer en algo. El hombre de bien no es más que un minúsculo barco de papel que flota, intentando no hundirse, en un océano sin límites, entre tormentas y olas gigantescas, sin saber nunca su destino.

Acerca de "Amnesiac", la primera parte del álbum, Carpani afirma:
La primera suite describe en 9 partes la experiencia de una amnesia profunda vivida a lo largo de un día: el despertar en un lugar desconocido, la caótica carrera para escapar del peligro, los flashbacks de acontecimientos ya ocurridos, el mundo que parece ser absorbido por un vortice de locura, la búsqueda de la propia identidad, los recuerdos de vidas pasadas y, finalmente, el retorno de la luz y la memoria y el final de un día increíble. Y sobre "Good and Evil": La segunda suite describe en 9 partes una experiencia eternamente oscilante entre el bien y el mal: ondas y frecuencias que vienen de las profundidades del tiempo y del espacio, el flujo de personas que como autómatas avanzan sin rebelarse, una experiencia postraumática que despierta sentimientos de culpa, la quietud que precede al éxtasis, el sutil encanto de la oscuridad, una vivencia mística, Una fiesta sin frenos inhibidores, todas las cosas volviendo finalmente a su lugar.

Alex Carpani es un compositor, tecladista, cantante, productor, musicólogo y director artístico nacido en Montreux, Suiza, que vive y trabaja en Bolonia. Su discografía cuenta con varios álbumes lanzados desde 2007, con el trabajo Waterline, pasando por The Sanctuary (2010), 4 Destinies (2014), So Close, So Far (2016), L'orizzonte Degli Eventi (2020), Microcosm (2022) y el mencionado The Good Man. Por otra parte, es miembro de la banda Aerostation, con quienes editó el álbum debut homónimo en 2018, abriendo para PFM en varias ocasiones. El nuevo disco de la banda saldrá en 2025.

Foto: Giorgio Luppi

No. 28
SAITEN KULT (review)
https://www.saitenkult.de/2025/01/10/alex-carpani-the-good-man/
by Michael Haifl

Alex Carpani has been releasing his works for 17 years and with his first two studio albums ́Waterline ́ (2007) and ́The Sanctuary ́ (2010) immediately the first highlights.

Since then, he has not only often gathered his band around him, but has also been able to inspire some famous musicians for his projects. The multi-instrumentalist is currently supported by guitarist Emiliano Fantuzzi, bassist Giambattista Giorgi, drummer Bruno Farinelli, saxophonist Alessio Alberghinis and mezzo-soprano Valentina Vanini. On his seventh studio album, Alex Carpani also takes over the vocals.
The Good Man ́ (2024) tells an uninterrupted story across two suites, about the human experience, our emotions and feelings, our strengths and weaknesses.
The first suite ́Amnesiac ́ describes the experiences of deep amnesia for almost half an hour, including the search for the past and one's own identity. The second suite ́Good And Evil ́ again describes the experiences between good and evil for almost half an hour, without breaking out of the familiar system or society.
In ́Amnesiac ́, the protagonist rushes through the big city without knowing a person. With a racing heart, he wanders through the city, waiting for a wake-up call that will bring him back to his old reality. ́Good And Evil ́ is even more terrifying, between nightmare, heavenly redemption, resistance, innocence and screaming.

From a purely musical point of view, no one has to look expectantly to GENESIS or ELP in this first-class production, the Italian-French musician Alex Carpani is naturally much closer to the symphonic Italo Prog and the unaffected Neo Prog. The present conceptual brilliance and the perfect musicality speak a clear language anyway.

(8.5 points) 

No. 29
PROGARCHIVES (review)
https://www.progarchives.com/Review.asp?id=3128117
by Stoneburner (Renzo Gellona)

***** 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?

No. 30
MUSICBOARD (review)
https://musicboard.app/album/the-good-man/alex-carpani/reviews?order_by=helpful
by Tim

Awesome prog album to help end the year of 2024

Until now, I'd never heard of Alex Carpani, but after discovering this album, I can't wait to get more familiar with his music. This is a great concept album featuring two 30-minute tracks, each divided into nine segments. You'll notice a wide range of influences throughout-there are jazzy moments, mellotron passages, heavier sections, and some really cool modern synth sounds. This album even made it into ProgArchives' top 100 for 2024 releases. If you're a fan of prog, this is definitely worth checking out.

4/5 stars

No. 31
ROCK IMPRESSIONS (review)
http://www.rock-impressions.com/carpani5.htm
by Giancarlo Bolther

Abbiamo già incontrato Carpani, un artista dalla forte personalità, che nel contesto musicale attuale riesce ancora a fare ricerca muovendosi in un contesto rock che possiamo definire “tradizionale” nel senso di musica suonata da veri musicisti, oggi si ha l’illusione di poter fare musica anche senza possedere reali doti, ci sono diavolerie elettroniche, AI e altro che possono sistemare, aggiustare, perfino creare. Mentre il mondo sembra spingere con urgenza verso il metaverso, basta pensare al fatto che ci sono persone che investono in bitcoin, soldi virtuali, cioè sul nulla, ma un nulla che genera nuovi ricchi, ci sono artisti che credono ancora nella musica suonata su veri strumenti, composta con fatica e dedizione, sperimentando suoni e usando la tecnologia come alleato e non facendosi dominare da essa.

Forse sono concetti troppo alti per questa recensione, ma l’impressione che ho ascoltando il lavoro di Alex è questo, c’è ancora qualcuno che fa musica che possiamo definire “umana”. The Good Man mi evoca questi pensieri, è un album davvero ricco, costituito da due suites, entrambe divise in nove parti, Amnesiac e Good And Evil due composizioni complesse e ricche di atmosfere diverse, siamo nell’ambito di un prog post moderno di alto spessore, non tanto per la proposta di soluzioni tecniche intricate, ma per la costruzione di strutture musicali che sembrano scatole cinesi, come un labirinto musicale pieno di porte e ad ogni nuova “stanza” una scoperta. Mi ha colto un po’ di sorpresa l’inserzione di una delle frasi più celebri di Woytila, uno dei papi più amati e al tempo stesso più controversi dell’ultimo secolo. Sicuramente il concept sottostante merita di essere approfondito, ma anche volendo soffermarsi solo sugli aspetti musicali la carne al fuoco è davvero molta.

Un plauso va anche all’artwork che impreziosisce il disco. Tanta ricchezza è offerta raramente e noi la possiamo trovare racchiusa in questo splendido album. Un disco che si ascolta e riascolta con gran piacere.
GB

No. 32
VIA NOCTURNA (review)
https://vianocturna2000.blogspot.com/2025/01/review-good-man-alex-carpani.html
by Pedro Carvalho

Alex Carpani, mestre contemporâneo do rock progressivo, brinda-nos com The Good Man, uma obra que se desdobra em duas suítes majestosas: Amnesiac e Good And Evil. Cada uma, com cerca de 28 minutos, conduz o ouvinte por uma viagem introspetiva através das complexidades da mente humana e das eternas batalhas entre luz e sombra. Em Amnesiac a música evolui de forma cinematográfica, com passagens orquestrais que evocam a confusão e a eventual iluminação do protagonista. Já em Good And Evil, Carpani explora a dualidade moral, equilibrando delicadamente elementos de serenidade e tumulto. A mezzo-soprano Valentina Vanini oferece uma performance arrebatadora, especialmente em momentos de vocalizos que elevam as peças a patamares sublimes. O saxofone soprano de Alessio Alberghini assume um papel de destaque, tecendo melodias que ora confortam, ora inquietam, reforçando a atmosfera onírica da suíte. A faixa Mystical, por exemplo, destaca-se não só pela sua extensão, mas também pela profundidade espiritual que transmite. Aqui, diálogos pontuais em italiano adicionam uma camada de misticismo, enquanto o órgão de igreja e os arranjos corais remetem para uma experiência quase litúrgica, e onde a presença contínua do saxofone contribui para enriquecer a textura sonora. Alex Carpani demonstra, mais uma vez, ser um visionário do género, capaz de conjugar complexidade musical com uma narrativa emocional profunda. Por isso, The Good Man é uma obra-prima que exige uma escuta atenta e repetida, revelando novas camadas a cada audição. [94%]
 
Highlights
Perfect Chaos, The Edge Of My Mind, Past Life, As Light Returns, The Flow, Stillness And Ecstasy, Flirting With Darkness, Mystical, Leaving The Path
 
Tracklist
Amnesiac
1. On A Train
2. Perfect Chaos
3. Flashbacks
4. The Edge Of My Mind
5. Diamond In The Rough
6. Past Life
7. Heart Calling
8. As Light Returns
9. End Of The Day
 
Good and Evil
1. Lost Frequencies
2. The Flow
3. P.T.S.D.
4. Stillness And Ecstasy
5. Flirting With Darkness
6. Mystical
7. Leaving The Path
8. Masquerade
9. Everything Falls Into Place
 
Line-up
Alex Carpani – vocais, teclados, drum machine, baixo sintetizado, guitarras virtuais
Bruno Farinelli – bateria
Giambattista Giorgi – baixo
Emiliano Fantuzzi – guitarras
 
Convidados
Alessio Alberghini – sax soprano
Valentina Vanini - mezzosoprano
 
Internet
Bandcamp   
Website   
Facebook   
Youtube   
 
Edição
Independent Artist Records

No. 33
PROG ITALIA (interview)
https://sprea.it/abbonamenti/1718-prog
by Antonio Di Sarno

No. 34
THE PROGRESSIVE SUBWAY (review)
https://theprogressivesubway.com/2025/01/18/review-alex-carpani-the-good-man/
by Francesco

Style: Progressive rock, symphonic rock (clean vocals) Recommended for fans of: Porcupine Tree, new Opeth, Pink Floyd, Yes Country: Italy Release date: 06 December 2024

There are some albums that loudly demand your attention, and others that quietly, politely ask for it. This one does both, but not always in equal measure. What I’ve got here is an Italian prog rock release of epic proportions: The Good Man by Alex Carpani is just two nearly-thirty-minute tracks (also conveniently split by the artist into nine parts each) that span multiple styles and moods from ambient synth and fusion to the more conventional (is that the right word for it?) riffing found across the prog spectrum. Carpani’s influences reverberate throughout this record with enough clarity to evoke certain familiarity and he manages to keep the sound fresh without ever sounding derivative to the point of unoriginality but sometimes can stumble with keeping the listener engaged with its frequently shifting tone and pace. 
There’s a lot to take in on this release. The shifting moods interplay with the changing soundscapes, from heavy to soft, slow to fast, to create a dynamic that gives the album some movement. The Good Man is an album that doesn’t hide behind flashy technical wizardry, but competent musicianship doesn’t necessitate boastful showmanship, as Alex skilfully balances interesting and intricate riffing with emotional weight in the songwriting. Although the album is two singular tracks, there’s a lot of variation within the individual pieces—the two pieces ebb and flow with grace, like the scenes of a movie, often recalling elements that came before and reworking them into something that fits the later narrative. 

On “Amnesiac”, psychedelic Pink Floyd-esque moments of quiet introspection and experimentation are introduced, where background elements take precedence, and atmospheric keyboard work is complemented with a soprano operatic background vocal while the guitar takes a backseat to sentimental string pads. This is contrasted with loud, exuberant heavy guitar sections à la Haken, verses which come in later on “Heart Calling” (“part 7”). Trading emphasis between steady, double-kick triplets, and off-beat, syncopated staccato riffing over soaring keyboard leads, these kinds of feel changes add a sense of dynamism and help give a long track a feeling of momentum.

On “Good and Evil”, the pace slows down a bit. It’s a little more reserved, with fleeting moments of effervescence – the occasional energetic Steven Wilson-ey, new-Opeth-ish heavy part coming in after long periods of contemplative mulling about. I liked this contrast on “Amnesiac”; I was less fond of it a second time around. It felt more like a continuation of the first track that did little to move the album along than a wholly separate one. The various movements for the most part all kind of lull you into a trance; first slow, then upbeat, then slow again. Although it makes for a very cohesive, very consistent listen, there just wasn’t enough to differentiate from the first 28 minutes to really grab a hold of me. However, there were some interesting moments like “Flirting With Darkness”: an enthusiastic rock break that provides a bit of renewed energy after the aptly named “Stillness and Ecstasy” (emphasis mine) – and “Mystical”, where after a string-backed word from the late Pope John Paul II, we spontaneously break into fugue. As a pipe organ toccata channels Bach, the percussion section thunders in with bass accompaniment, breaking into what could almost be considered neoclassical prog, and delineating this as what I felt was the highlight of the album. The song has several more transitions between slow and fast, deciding on a more upbeat rock sound on the final track “Everything Falls Into Place” with heavily effected reverberant guitar melodies and saxophone, before sliding into more abstract ambient territory for the album finale.

Alex Carpani has been around the block some, he certainly doesn’t need my validation here; I have the utmost respect for what he tried to do with this project and to say I didn’t enjoy it would be unfair as there are certainly moments I keep going back to, and parts of these two tracks that have made my regular rotation. Ultimately, though, The Good Man as a whole failed to resonate with me in a manner that I felt significant. I commend the work of his band and in particular, mezzo-soprano Valentina Vanini, whose contributions to this album cannot be overstated. A rather pensive release, with moments of bombast peppered throughout, Alex Carpani has crafted the thinking man’s prog rock album, but its unhurried nature might test the patience of those looking for more urgency and a swifter pace.

Recommended tracks: “Amnesiac Part 2 Perfect Chaos”, “Amnesiac Part 9 End Of The Day”, “Good and Evil Part 5 Flirting With Darkness”, “Good and Evil Part 9 Everything Falls Apart”
You may also like: Wounded Knee, Osanna, Karmamoi
Final verdict: 7/10

No. 35
ECLIPSED (review)
https://www.eclipsed.de/de
by Joe Asmodo

8 points

Related: King Crimson; Steven Wilson; Le Orme

Alex Carpani is no stranger to the prog scene. The award-winning Italian composer, music teacher and multi-instrumentalist released his first solo album "Waterline" in 2007, on which none other than Le Orme frontman Aldo Tagliapietra took part. Collaborations with David Cross (King Crimson) and David Jackson (Van der Graaf Generator) followed, among others. Last year, Carpani was one of the headliners at the Reichenbach Artrock Festival.

"The Good Man", his seventh studio work, consists of two suites, each around 28 minutes long and each containing nine sub-chapters. Explaining the topics dealt with in detail would go beyond the scope of this text. So I will just say this: Psychologists and philosophers are particularly addressed here. Since the lyrics are already short, we will only discuss the music below: All in all, Carpani once again offers varied and accessible symphonic prog, to which he occasionally mixes a few drops of hard rock or a pinch of metal. Jazzy passages, electronic atmospheres, spherical moments for dazzling mental cinema and the occasional wordless vocal contributions from mezzo-soprano Valentina Vanini ("Past Life", "As Light Returns") lighten the whole thing up wonderfully. The guitar parts by Emiliano Fantuzzi and the saxophone by Alessio Alberghini also make you sit up and take notice. You can tell how fine the compositional art is by the fact that the two epic sound journeys are over as soon as they have begun. You are well entertained, and without any individual parts standing out, you get the unmistakable feeling that there is still a lot to discover here. That's how it should be!

Top track: Past Life

* * * Joe Asmodo

Comments on the record:

“You spontaneously place this album somewhere between Porcupine Tree and small tape. The arrangements are always tasteful, the production has real depth. Even the pieces with wordless vocals fit in well.” MaB

“Atmospheric like a midnight film soundtrack, but also always really on point. The 'Play me the song of death'-like siren song is overused, but stands for many magical passages.” WS