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La musique issue de cette démarche, certes louable mais un poil insipide, si elle parvient à procurer bien du plaisir, reste totalement morte. Ici, rien ne rappelle, car l'on y est. Que ce soient les défauts ou les qualités, on sent bien vivre et s'agiter ce souffle créateur qui régnait il y a très longtemps de ça, et non une suite d'artifices clichisés. Le résultat est prenant de justesse et de beauté.

Côté artwork , l'absence de Paul Whitehead est un peu frustrante mais reste dérisoire compte tenu de la qualité musicale. Il demeure finalement assez compliqué de désigner un vainqueur à la trilogie progressive de notre Italien. Chacun des quatre titres fleuves impressionne par sa finition et son inspiration. Tout parvient à tenir en haleine l'auditeur dans ces longues pièces qui, sur le papier, réservaient bien des pièges.

Previously he recorded Waterline and The Sanctuary The new album is based on four possible destinies that a man may find on his life path, so actually it's more or less a concept album. From time to time the music on the four tracks tends in the direction of the classic progressive rock of the seventies.

It's evident that characteristics of those bands can be heard throughout the album, especially VDGG if David Jackson is contributing to the album. Being a keyboard player it's hard to deny that Carpani would not be influenced by the big names in the prog rock scene.

Of course I didn't mind at all because sounding like the best keyboard players ever isn't something I hate. On the contrary, I love every second that Carpani touches the keys. You might think that 4 Destinies is a keyboard orientated album, but that's certainly not the case. Sure, Alex Carpani gets room enough to excel, but this also applies to his fellow-musicians. The guitars, vocals, saxophones and flutes have more than once a leading role and they make 4 Destinies a very varied album.

Mentioning any highlights is a difficult thing to do since the entire album can be seen as one musical highlight. Take a chance and listen to this album and you'll probably be as positive as I am. Thumbs up for Alex Carpani and his fellow-musicians who delivered such a fine album! At first its jazziness captivated me. Now I don't know how well I like this one. The continuous shape-shifting, however, does take its toll: It detracts from allowing this song to form an identity of its own; in the end I am left with the impression that this song was made to be a show piece of the artist's skills.

It then settles into Neo territory--very imitative with plenty of melody but really with nothing new or innovative. But then the third minute seems to shake the mold with some more modern--no.

Fourth minute Just my imagination. Unlike the album's first song, this one seems to want to plod along at the same pace, with a very predictable form and structure.

A Steve Hackett solo tries to fit in at the ten minute mark. Again the singing in Italian may be the song's saving point. The vocalist's likeness to Genesis-era Peter Gabriel is truly extraordinary. This is probably my favorite song on the album--if you can get past its obvious roots and influences. As the soundtrack feel builds a tempo seems to solidify until at the two minute mark drums and guitars take over to provide a foundation for a Richard Wright-like echoed synth solo.

Mid-tempo Rock tempo is established for the vocal again very Genesis-era Peter Gabriel-esque. Dracula is mentioned just before the Richard Wright synths are let loose again. Grand piano takes over with the advent of the seventh minute before a more RPI familiar section takes over. Grand piano then supports a Broadway-like vocal before David Jackson's sax supplants Steve Hackett for the solo on a section taken straight out of "Fly on a Windshield"--which then morphs back into "The Colony of Slippermen.

The song is pleasant listening--especially if you can get past the familiarity of so many sections--especially some lifted straight out of other classic 70s prog.

I don't do well with Neo-prog in general as the sounds, structures and formats are often too overwhelmingly lifted from favorite or familiar songs from my already prog rich and prog happy past. This is well done. It is well composed and well performed. It is pleasant to listen to. I guess I'd recommend it to others so that you can make your own opinions. But "excellent addition to any prog rock music collection"?? I think I'll let you decide.

Four Destinies is a release that offers a fascinating trip back to prog's early 70s origins. Carpani plays an impressive array of keyboards piano, Hammond organ, Mellotron, Moog orchestrations with both flawless technique and taste. His backing band consists of Ettore Salati electric, acoustic, double neck and 12 string guitars, bouzouki and Balalaika , GB Giorgi five-string electric bass , Alessandro DiCaprio drums and Joe Sal additional vocals.

They provide Carpani with impressive support, but David Jackson's presence here is the icing on the cake. David is a prog legend from his days with Van Der Graaf Generator and his array of saxophones and flutes do much to add colors and a bit of edginess to Carpani's ambitious, musical vision.

The album's opening track, The Silk Road clocks in at 13 minutes and establishes a blueprint for what is to follow.

Carpani's Hammond organ merges with Jackson's sax and some tasteful guitar to create a slightly Indian feel. Salati's guitar recalls Steve Hackett at times no bad thing but it lingers a bit more to the background than Steve might do.

Carpani solos on piano and organ while Jackson contributes a coolly-reflective flute passage. The music twists and turns sinuously, recalling the early days of Genesis.

Obviously there is a lot to explore here. The only drawback thus far, is the lead vocal which is rather ordinary and doesn't add too much to the music. Otherwise, The Silk Road is an impressive, musical tour-de-force that culminates in Mellotronic glory. Time Spiral clocks in at Guitar and synth solos suggest a slightly jazzy feel.

David Jackson's playing shines here, adding a bit of fire to a track that recalls Peter Gabriel-era Genesis. To me, this is prog as it is meant to be played. The band is crisp and the music is full of subtlety and surprises. Sky and Sea stretches to a lengthy It opens with flute, piano and acoustic, finger-style guitar.

Alex Carpani's understated vocal, steers the music from introspection to something a bit heavier. Carpani uses his battery of keyboards to full effect while Alessandro Di Caprio provides a bit of percussive urgency. Carpani is an impressive technician but he and the band never seem to overplay. They get the best out of their arrangements.

The Infinite Room closes out the album on a high note. The musicians here are veterans and they keep things humming, with Jackson's flute and sax matched against Carpani's sparse, yet pretty piano chords.

Gradually, the players are swept up in a wash of synthesised strings. The track has a majestic feel to it and everyone is allowed a bit of solo space.

To me, The Infinite Space is a summation of what has preceded it. Carpani, Jackson and co have created a Prog classic that deserves to be heard. It is a thinking person's music, in an era that often substitutes technical flash, for substance. In summation, this is a slice of early 70s style, classic prog that has been neatly updated for the times. It is beautifully written, constructed and performed and apart from a vocal or two, it is nearly perfect. In conclusion, Four Destinies is an album to be savoured.

The silk road apre il cd indicando subito i percorsi che intende intraprendere il musicista, che fa volare subito le sue tastiere rievocando il grande Keith Emerson.

Quest'orientamento classicheggiante trova comunque colori variegati per merito degli interventi del sax che inevitabilmente riportano alla mente i Van der Graaf Generator, ma anche la chitarra di Ettore Salati si ritaglia buoni spazi. Curioso il fatto che il testo, come anche i successivi, alterni l'inglese e l'italiano. Le altre tracce seguono la stessa falsariga della prima, con ampi spazi dove gli strumenti possono intrecciarsi con felici fusioni timbriche o spingersi in situazioni solistiche abili e di effetto, grazie al talento dei musicisti.

Sky and sea forse resta il picco del cd, con i suoi fraseggi melodici e raffinati alternati a slanci energici e spinte propulsive decisamente coinvolgenti. Al di là di questo particolare 4 destinies è un disco di gran classe, suonato magnificamente e che ha tutte le carte in regola per farsi amare dall'ampia fascia di progster che venerano il rock sinfonico.

Ed effettivamente questo 4 Destinies è un disco fatto molto bene. Ospiti d'eccezione come Jackson, un produttore come Roversi, insomma i presupposti per un lavoro almeno serio ci sono tutti. L'ascolto in effetti ripaga le aspettative, 4 composizioni che sfiorano i 15 minuti, per quindi circa un'ora di un solido Rock Sinfonico che non delude l'appassionato. Il disco, ad un ascolto distratto, potrebbe essere liquidato come "ottimo disco sinfonico keyboard oriented, per amanti di ELP o Banco".

In realtà il disco è molto di più di questo, senza nulla voler togliere alle ottime doti strumentali di Alex all'Hammond e alle tastiere in generale. Certo l'Hammond dà l'impatto, ma i flauti, i sassofoni suonati da Jackson, ovunque nelle tracce come in The silk road, la bella traccia d'apertura , i ricami di chitarra acustica e non, e le idee compositive danno uno spessore maggiore al lavoro fornendo spunti interessanti ad ogni riascolto. Le parti più interessanti sono quando ci si rilassa, facendo riposare il fidato hammond e svegliando il bel piano, quando la ritmica diventa più tranquilla e magari si sfodera il sinth, come avviene nelle fasi iniziali di Time Spiral o nelle due tracce finali , dove è da annoverare, tra le altre cose, anche un buon lavoro alla chitarra di Ettore Salati nel tirato finale.

Come per tutto il disco, è interessante l'idea di cantare parte del testo in inglese e parte in italiano, una trovata d'effetto che tende ad enfatizzare momenti importanti dei pezzi, e ci riesce benissimo!

Veramente un ottimo brano che finisce placandosi e riconciliandosi con le atmosfere iniziali. Chiude il disco The infinite Room, dal misterioso inizio pianoforte e fiati, che continua il buon climax raggiunto dal brano precedente, con atmosfere che ricordano ancora una volta la mano del produttore almeno alle mie orecchie , che con i fiati maggiormente in evidenza chiude molto bene quest'ottimo esordio di questo talentuoso musicista.

C'è, infatti, una volontà ben precisa di Alex: E' una volontà, sia chiaro, che noi critichiamo solo perché questa scelta ha, in pratica, impoverito la tavolozza timbrica a disposizione e la dinamica del disco, che suona forte anche quando dovrebbe sussurrare e urla quando dovrebbe parlare.

Ma non fatevi fuorviare da queste mie ultime considerazioni, è un lavoro che farà felice molti manti del genere sinfonico e che se avranno pazienza di ascoltare molte volte il disco potranno deliziarsi degli intarsi che tutti i musicisti hanno creato in tutti i brani contribuendo a rendere questo 4 Destinies l'ottimo disco che è! It was recorded with a line up featuring Alex Carpani piano, Hammond, Mellotron, Moog, vocals , David Jackson sax, flute , Ettore Salati electric and acoustic guitar, bouzouki, balalaika , Giambattista Giorgi bass , Alessandro Di Caprio drums and Joe Sal vocals and produced by Cristiano Roversi who engineered, mixed and mastered all the pieces.

The album was finally released in on the independent Festival Music label with a nice packaging and an art cover reproducing a statue by Michelangelo Pistoletto, The Etruscan, from the Forth Worth Museum collection.

According to the liner notes, this is a concept album based on four eventual destinies that a man can find on the path of his life: To be honest, the concept is not very clear: Four destinies, four long tracks with many changes in rhythm and mood, very rich in ideas and musical colours well performed by an excellent team of musicians The beautiful opener, "The Silk Road", takes you on a long journey through valleys and deserts, following the ancient tracks of merchants and adventurers such as Marco Polo.

It's a road that marks the destiny of many different people in a melting-pot of races, colours, smells and sounds A road that crosses the borders between science and faith, where you can hear secret stories whispered by silent shadows under the moonlight There you can get lost in the mystery of life, you can feel the weight of your days passing by like dust and sand carried away by the current But a threatening storm is approaching and the rage of the wind will soon blow away everything around you in the crazy spiral of a deadly fate The music and lyrics take you on a boat sailing across raging waters under a thundering storm in a dark night You've got to gather all your energies and fight hard for your life against the fury of the elements.

At last the storm calms down, you see a lighthouse and you can breathe the smells of a seaport, you can reach a safe harbour. Now the danger is gone but sometimes tears take a long time to dry Your body is out of control while you're strolling through the streets of a fantastic, unreal city. At dawn the dream melts and you wake up confused by feelings, thoughts and visions that are driving you insane. You can hear a strange music that's shaking your soul Chords, vibrations, and harmonic ecstasies echoed passionately on every hand; while on my ravished sight burst the stupendous spectacle of ultimate beauty Lovecraft, from Beyond the Wall of Sleep.

On the whole, I think that this is a very good album: I'm sure you will not be disappointed. Se nel primo disco la presenza di Aldo Tagliapietra valorizzava le composizioni di Alex, ora i pezzi si reggono in piedi da soli, senza la necessità di special guest, fatta eccezione per Gigi Cavalli Cocchi, parte integrante del progetto.

Il rock sinfonico di Carpani, nell'ereditare dal progressive storico la combinazione di elementi maschili e femminili, di spinte rock e sapori romantici, si adatta perfettamente all'atmosfera mistica ed enigmatica di questo concept, "consacrato" dalla copertina di Paul Whitehead e aperto da "Burning Braziers", un art-rock dinamico e serrato che inaugura perfettamente il nuovo lavoro.

Se il riferimento del precedente cd spaziava tra Genesis e Orme, stavolta il neoprog carpaniano si fa più acceso, articolato, melodico e agevole come sempre ma intrigante, muscolare all'occorrenza. L'album è prevalentemente strumentale ma non rivela momenti di noia e stanchezza. Meno fascinosa rispetto a quella di Tagliapietra, la voce di Alex rende bene e funziona nel contesto concettuale: Se "Waterline" puntava di più sulle tessiture, sull'evanescenza, "The sanctuary", anche per merito di una band presente e incalzante, vira in una direzione più sanguigna, benchè non manchino episodi più rifiniti come "Memories of a wedding" e la splendida "Master of ceremonies".

Disco più che eccellente, una delle migliori uscite prog del In ogni caso, quello di Alex Carpani è un disco per gli appassionati del genere progressivo con massicce dosi di tastiera, ma se cercate qualcosa di più duro e tipicamente metal, sappiate che avete sbagliato album. Il risultato, come appena detto, è meraviglioso: Le sparute parti vocali, questa volta, sono a carico dello stesso Alex che, pur non eccellendo, sa bene che tipo di interpretazione vuole, e riesce dunque a raggiungere il climax interpretativo.

Alex Carpani composed, arranged, orchestrated and produced the whole album himself along with all the vocal duties and keyboards. There is some superb old school symphonic keyboard playing which keeps the track honest throughout, and a number of additional keyboard swirls and changing time signatures which always keep you guessing. It is a medium paced song and demonstrates the band are very skilful at producing a purely instrumental track which keeps you interested and is a good opening to the album.

The keyboards dominate the sound again with some really effective textures and swirls. The guitar at times can be heard in the background a real gentle sound but it adds a lot of dimension to the overall sound.

There is also a beautiful orchestral section towards the end of this track. At times it can transport you back a number of years to the hey-day of progressive music but also with a refreshing new outlook on the genre at the same time.

I really love the keyboard sounds that are on this album and this track particularly is a perfect example of this. The music really manages to ebb and flow with majestic presence and even the guitar makes an impression at times when it is called upon. The vocals are not the strongest you will hear this year but as part of the overall sound they suit very well.

The whole band seem to hit their full stride on this track, the relentless rhythm is almost hypnotic at times. The paces changes superbly well towards the end of the track with another haunting and memorable orchestrated section before finishing in a full band workout which at times is truly sublime. With some superb melody at times it manages to create the required atmosphere without ever sounding overblown or pompous.

The vocals are joined by a wailing guitar which follows the lyrics without drowning out the message. The keyboards are used to full effect once again but only to add to the overall experience and although there are the occasional solos they really feel a full part of the listening experience.

The final vocal flourish finishes off another superb track. It is very difficult at times to know where the songs will go next but this is a good thing as you are always constantly surprised at the twist and turns. It really feels like an instrumental track until the vocals make a swift appearance before the music dominates again.

Full of atmosphere and some very clever composition skills are displayed and played to an extremely high level. It almost sounds avant-garde in parts but it is put together so well you can hardly feel the joins. There are a huge amount of different influences displayed on this track it evens comes with a flamenco sounding finale.

It is a slower paced song overall and is an important part of the jigsaw of this album. The drums really come into their own about half way through the track, also joined by small glimpses of guitar. The keyboard playing becomes a little more extravagant towards the end of this piece and it is a fitting instrumental conclusion to a very enjoyable album. Claviers en tous genres, guitares Génesissiennes, ambiances orchestrales, "The sanctuary" tient toutes les promesses engagées avec "Waterline" il y a 3 ans.

Et bien sûr Paul Whitehead a conçu la pochette! Notons qu'enfin, la qualité du son, qui pouvait parfois gêner sur le 1er album, fait partie dorénavant des points forts. Le parti vocali, eseguite questa volta da Alex stesso, sono più un accompagnamento saltuario all'interno del disco, e l'ascoltatore viene lasciato più spesso in balia della sola musica che si districa ottimamente negli arrangiamenti mai banali che vengono proposti. Il lavoro dei tre compagni di viaggio è di alto livello e ben si amalgama con l'estro e ed il chiaro predominio di Alex sul resto del gruppo d'altronde è quello che gli si chiede in opere di questo tipo.

Le dieci tracce passano quindi in maniera veloce e senza stancare, cosa non sempre facile per i dischi strumentali, dimostrando ancora una volta che siamo di fronte ad un prodotto ben fatto ed azzeccato. Inoltre ad impreziosire il tutto c'è anche la stupenda copertina disegnata da Paul Whitehead, che in passato ha collaborato tantissimo con i Genesis su copertine, disegni e bozze per i loro album.

In definitiva, se amate il prog sinfonico, e specialmente le tastiere, questo è un disco da non perdere perché sicuramente saprà accontentarvi nel migliore dei modi.

Per quanto riguarda Alex speriamo che possa ottenere il giusto riconoscimento anche a livello internazionale, e non rischi di passare troppo sotto banco come purtroppo accade per molti interessanti gruppi del sottobosco italiano. C'est sans doute ce qui est arrivé à Alex Carpani quand il s'est retrouvé sur les bancs de l'école avec le fils de Keith Emerson.

Ses études l'ont dirigé vers un graduat en musicologie à Bologne Italie avant de se consacrer aux musiques de film. Tiens donc, Keith Emerson a aussi écrit des musiques de film. Son premier album ne sort qu'en , alors qu'il a 37 ans déjà. Le projet devait être instrumental, mais finalement il fait appel à différents musiciens et au chanteur Aldo Tagliapietra Le Orme.

Cette fois, pour son 2nd opus, Alex Carpani a décidé d'assurer le chant lui-même, et c'est tant mieux car il est moins imprégné du progressif italien des années Sa voix est intense et vibrante. Elle séduit, et pourtant il semble se retenir. Espérons qu'il se lâche plus pour le 3e. Équipe réduite donc, mais de grande qualité! Sur "Entering The Sanctuary", la guitare est plus agressive. Le chant suit parfois les traces d'un Greg Lake, même s'il n'en a pas la profondeur.

La basse va chercher ses notes dans les graves groovantes pour "Knights And Clergymen". L'ambiance est tantôt sombre et mystérieuse, tantôt très expressive. La section rythmique est cependant tranchante et les breaks sont nombreux. L'ombre de Genesis est toujours présente sur "Moonlight Through The Ruins" avec une envolée grandiose et un passage torturé. Le début classique de "Leaving The Sanctuary" cède vite la place à des ambiances changeantes et une tension qui grimpe au fil du temps.

Ce deuxième opus d'Alex Carpani séduit. La production est bien meilleure, le mixage aussi. Le chant est plus personnel et Carpani a une très belle voix qu'il devrait développer. Enfin, il nous présente ici un ensemble plus cohérent, peut-être aussi parce qu'il a enregistré le tout avec une équipe réduite. À découvrir si vous aimez le progressif des seventies.

Das lag wohl besonders auch daran, dass sich der italienische Musiker jede Menge Mitstreiter in sein Boot geholt hatte, die entlang der Wasserlinie die Maschinen unter Volldampf setzten. Jeder Ton vermochte zu überzeugen.

Doch bereits beim Studieren der Promo-Infos regt sich in mir Skepsis. Neue Band — neues Konzept: Hinzu kommt noch, dass die Texte mal wieder so etwa jedes versponnene Prog-Klischee befriedigen und geistig-religiös vor sich hinonanieren. Rundum ein progressives Klischee-Album mit völlig belanglosem Gesang, dafür aber sehr gut und fett in Finnland produziert.

Ovviamente sono curioso nel volere oggi riascoltare questo artista, il quale deve dimostrare di mantenere quello che ha promesso. Il disco è suddiviso in dieci tracce ma intersecate come in una unica lunga suite, come il genere stesso spesso consiglia.. Carpani oggi è una realtà.

He has composed, arranged, orchestrated and produced the album; he takes care of the keyboards as well as lead and background vocals, so it is quite natural that his fingerprints are all over the album. This is his project, and the epic suite he has created is so keyboard frontloaded that the rest of the instruments do only play second fiddle in the band.

He has created a soothing sound journey that takes us back to the dinosaurs; the 70s big prog bands like ELP and Yes do rear their ugly heads, and I am sure Keith Emerson and Rick Wakeman has had a big influence on him.

The last kick is however missing, but still a very solid effort and one worth giving a try if you like keyboard-driven symphonic prog rock. Alex Carpani steht ganz in der italienischen Progressive Rock Tradition, seine Themen sind lebensfroh und forsch, weniger kopflastig als eher ein Stück machohaft in der stolzen Handschrift und in aller sensiblen Lyrik von starker Gefühlswallung. Alex Carpani legt keinen Wert darauf, tagesaktuell zu klingen, was den Songs nur gut tut. So wird nichts vermischt, was der Zuhörer und geneigte Fan nicht vermischt haben will.

Trotz aller Reminiszenzen ist das Album originell und eigenständig, wird keine Band, kein Vorbild kopiert, ist Alex Carpanis Handschrift stets deutlich und kraftvoll. One of the best RPI symphonic prog albums, ever.

The album tells a long story in 10 tracks, linked to become a whole suite. The Dance of the Sacred Elve is a great Progressive mix between the old and the new progressive genre. Claviers en tous genres, guitares Génesissiennes, ambiances orchestrales, "The Sanctuary" tient toutes les promesses engagées avec "Waterline" il y a 3 ans. No no, all the songs are freshly penned but they do find their origin in times long gone by.

Alex has no problem with letting us know, that in former times everything was better. It might help if I told you that Alex Carpani is a keyboard player by trade. And this leads seamlessly to the Tony Bankses en Keith Emersons of the progworld, heroes-wise. See, this information makes it easy to create a frame of reference.

The fore mentioned men Banks and Emerson are becoming a little rusty in the paws so there is no harm in musing about the future. Carpani keeps all his options open so he can function as cultural heir to whoever succumbs first. I, as a fan of that group, do not really mind that likeness, but with that it has to be said that remakes are rarely as good as the original and that the book is almost always better, too. And looking at the other eminence grise we can safely conclude that Carpani can easily take over, should Banks end up in a box, six feet under.

And again, the likeness is eerie. Oh, apart from the vocals, that is. But hey, you as a lover of the genre or as an old hippie, if you will are likely to come to good terms with this album. The blueprints are so much high-profile, though, that copying is almost pointless. It happened to me too. Il viaggio tra maestose mura si fa sempre più emozionante via via che la curiosità viene stimolata dalle mille note prodotte. Tutto perfetto, ma cosa manca? Si le chant sur son précédent album laissait à désirer, l'écueil est ici très simplement contourné puisqu'il assume désormais lui-même la totalité des parties vocales.

Avec à ses côtés le batteur Gigi Cavalli Cocchide Mangalla Vallis , le guitariste Ettore Salati qui officia un temps avec The Watch et Fabiano Spiga à la basse, l'ensemble tient la route tout en bénéficiant d'une production très honorable. Un petit anachronisme réussi, qui saura trouver son public et qu'il est sympathique de soutenir. Alex est né en Suisse d'un père italien et d'une mère française. Il a commencé à étudier la musique à l'âge de six ans précoce le bougre pour ensuite passer par l'université musicologique de Bologne et la réputée C.

T, l'une des plus fameuses écoles de musique en Italie. Il s'est spécialisé dans la musique de films et a reçu de nombreuses récompenses dans le monde entier. Il arrive dans notre petit monde du rock progressif avec un très solide bagage musical après avoir formé un duo au début des années quatre vingt dix appelé GEMINI, également après avoir travaillé avec entre autres MOGOL, l'un des plus célèbres compositeurs italiens de l'époque.

Pour "The sanctuary" il a fait relativement simple puisque l'opus présente dix titres de durée proche entre quatre et six minutes la moitié sont instrumentaux et l'autre chantée mais sans exagération. Le titre introductif "Burning Braziers" est l'un de mes préférés avec bien sur une hégémonie des claviers à tendance filmographie normal compte tenu de ce qui a été mentionné plus haut. La patte emersonienne se retrouve dans "The Dance of Sacred Elves" instrumental à la manière filmographique encore dans sa partie centrale et un final qui crachote comme un bon vieux vinyle.

Les claviers sont banksiens comme ce n'est pas permis et les guitares hacketiennes en diable. Bon là c'est plus que de l'inspiration!!! Pour conclure nous avons affaire à un bon disque de rock progressif italien malgré un chant plutôt moyen et des transitions quelque peu abruptes entre les morceaux. A consommer mais sans excès! Surtout en période de fêtes E non è finita…Guardate la splendida copertina in cima alla recensione: Edito da Maracash http: Questa nuova opera conferma quanto di buono avevamo assaporato in passato e appare per quanto possibile più equilibrata e più a fondo sviluppata.

Le timbriche delle tastiere ed i meravigliosi e lunghi assoli in cui il bravo Alex si prodiga possono far pensare in un primo momento ad vero e proprio tributo a Keith Emerson. Riguardo alla voce, non sarà quella di Aldo Tagliapietra interprete del precedente lavoro , ma bisogna dire che è piacevole ed adatta alle circostanze e mostra anche una buona pronuncia inglese.

Complessivamente si tratta di un album molto forte, dalle basi solide, dal songwriting fantasioso, seppure manieristico, che si dimostra piacevole e scorrevole e anche stuzzicante per quanto riguarda lo sfoggio, comunque misurato, di tecnica che si unisce in questo caso alla grazia di una musica ricca ed articolata. Per chi ama il Prog sinfonico nella sua veste più classica si tratta senza dubbio di un acquisto e di un ascolto interessante. Spirit Of Decadence Entering The Sanctuary 4.

Knights And Clergymen 4. Memories Of A Wedding 5. Master Of Ceremonies Moonlight Through The Ruins 5. Leaving The Sanctuary Een verrassing die vlak voor Kerst binnenkwam en dus net te laat voor de eindejaarslijsten. Al werd na eerste beluistering al duidelijk dat we hier weliswaar niet te maken hebben met een grensverleggend album maar wel met een 'oorstreler' die de laatste weken herhaaldelijk de laser sierde. Carpani timmert al jaren aan de weg.

Zijn vorige album 'Waterline' uit mocht er ook zijn. Ik veronderstel dat Keith Emerson zijn grote voorbeeld is. Hij doet niet voor deze legende onder: De composities zijn melodieus, niet alleen door de zang, maar zeker ook door de arrangementen. Ondersteund door leden van The Watch en Mangala Vallis gaat Carpani wervelend van start in 'Burning Braziers', het begin van het concept-verhaal over een man die van de buitenwereld wordt gescheiden door het betreden van 'the sanctuary'.

Ook 'Entering the Sanctuary is een favoriet, maar het album kent per saldo geen zwakke momenten. Carpani maakt ook new age en meer klassiek georiënteerde albums. Die zijn mij niet bekend. De symfonische rock die hij laat horen op 'The Sanctuary' - gestoken in een mooie door Paul Whitehead ontworpen hoes - staat in ieder geval als een huis en is een absolute aanrader voor iedere toetsenfreak. Vale nella moda, nella politica, in ogni aspetto della vita culturale, e quindi nella musica.

Certa musica è stata messa in un angolo troppo velocemente, ma… la qualità paga. Un capolavoro secondo i miei canoni, secondo il mio metro di giudizio, che è quello di un uomo influenzato dal vissuto, da tutta la musica, una certa musica, vista ed ascoltata nel momento in cui essa nasceva.

Nella vita accadono spesso episodi che riusciranno a condizionarla, anche se sul momento non appaiono fondamentali. Dieci brani che costituiscono una suite, dieci "episodi" composti, arrangiati, orchestrati, prodotti da Carpani, con un risultato davvero sorprendente. Forse cantare è per lui un fatto contingente più che una passione, ma fornire un tocco personale e distintivo vale milioni di volte di più di standardizzati esercizi di estensione e potenza.

Alex Carpani si è avvalso della collaborazione di Gigi Cavalli Cocchi ala batteria e percussioni, Ettore Salati alle chitarre e Fabiano Spiga al basso.

Da evidenziare la copertina realizzata dal mitico Paul Whitehead, in una sorta di filo conduttore che lega il passato al presente. Il mio piccolo contributo alla causa della buona musica è la condivisione, cosa che perseguo quotidianamente. Questo artista italiano ha un curriculum da far impallidire qualsiasi musicista, avendo composto ed inciso oltre trenta dischi, nei quali ha affrontato generi differenti: Per eseguire dal vivo in Italia e all'estero i brani tratti da Waterline si forma la Alex Carpani Band ACB , che nel tempo è divenuta una delle realtà più significative della nuova scena progressive italiana.

Tutto il disco è un caleidoscopio di colori, suoni, immagini e sensazioni. Grande musica, senza ombra di dubbio. Le partiture sono complesse, ma tutto scorre in modo fluido e limpido. Basta, infatti, qualche ascolto per assimilare il tema portante che rende riconoscibile e memorizzabile ciascun brano.

Questo album è ARTE allo stato puro, per la perizia con cui è suonato e, soprattutto, per la sua capacità di rievocare sensazioni e suscitare profonde emozioni. Imperdibile per chi ama la Musica vera.

On his sixth he was taught organ, then piano and also writing compositions. The way he discovered progressive rock is very special: And in Master Of Ceremonies he delivers a captivating duel on flamenco guitar with Mellotron choirs, goose bumps!

Some tracks contain English vocals, these sound decent but not on the level of the other instruments. I am sure that singing in their wonderful native language would have given these songs more emotional depth.

Nonetheless, this new effort by Alex Carpani and his musical friends has turned into a very pleasant progrock experience with the focus on exciting vintage keyboards, recommended! Stiamo parlando di Alex Carpani , talentuoso tastierista italo-svizzero cresciuto a pane e progressive rock, nato a Montreaux nel A distanza di tre anni dal già citato album di debutto, vede ora la luce il secondo full length targato Alex Carpani , dal titolo The Sanctuary , dato alle stampe nel mese di ottobre tramite Ma.

Totalmente rivoluzionata la line-up rispetto al full length di debutto: Chiude infine il gruppo il chitarrista Ettore Salati ex The Watch , artefice di una prova forse poco appariscente, ma in ogni caso estremamente solida e precisa.

Composto da dieci tracce per una durata complessiva che si attesta intorno ai cinquantadue primi , questo The Sanctuary ci offre una manciata di brani dal minutaggio abbastanza contenuto tutti al di sotto dei sei minuti , complessivamente ben congegnati, piuttosto omogenei a livello di sonorità e dall'alto tasso melodico.

Un lavoro assolutamente scorrevole e privo di filler o passaggi a vuoto di sorta, che mette in evidenza un songwriting estremamente fluido e maturo, nonché una cura certosina per quanto riguarda gli arrangiamenti. Tra gli episodi migliori del disco possiamo citare la solenne Entering the Sanctuary , pezzo piuttosto articolato che si dipana tra fitte trame tastieristiche, inserti di pianoforte, ritmiche intricate e momenti più riflessivi.

Insomma, che altro aggiungere? The Sanctuary rappresenta, ad oggi, il miglior lavoro dato alle stampe da Alex Carpani , un disco inappuntabile sotto il profilo esecutivo, dai contenuti piuttosto interessanti, estremamente fluido a livello di songwriting e mai banale. Tutti i pezzi qui proposti si assestano su livelli qualitativi medio-alti, andando in questo modo a costituire una tracklist assolutamente scorrevole, priva di qualsivoglia filler o passaggio a vuoto.

Un acquisto consigliato a tutti gli estimatori del progressive rock. Con Waterline Carpani aveva mostrato una capacità di scrittura brillante e sicura, anche se molto rivolta alla storia del rock progressivo, sia inglese che italiano e difatti si era avvalso della collaborazione con uno dei personaggi chiave della produzione nazionale come Aldo Tagliapietra, cantante delle Orme.

Dopo 3 anni di grandi soddisfazioni che hanno portato il tastierista ad un vero e proprio tour mondiale con tappe in Giappone, Germania e Francia, solo per citare alcuni paesi toccati dal gruppo, Carpani propone dieci brani legati tra loro a formare una sorta di suite progressiva.

Per far questo decide di occuparsi personalmente delle parti vocali e di non attuare sostanziali modifiche alla struttura e al sound del disco precedente che tanto interesse aveva suscitato tra appassionati e critici. Si torna ad uno strumentale con The Dance of the Sacred Elves dove ovviamente le tastiere di Carpani sono nuovamente grandi protagoniste e ci guidano in sonorità che spaziano dal rock progressivo alla classica passando per accenni che richiamano al jazz.

Il finale si aggancia alla successiva Entering the Sanctuary, brano dove forte è la presenza del moog, soprattutto nella prima parte. Nella seconda metà, prettamente strumentale, la band struttura il brano in maniera più articolata con Carpani eccellente al pianoforte, una sezione ritmica a proprio agio in trame sottilmente aggrovigliate e Salati attento a creare sonorità riflessive e fluide.

Davvero splendida è Memories of a Wedding che introdotta da un delicato pianoforte esplode attraverso una sezione ritmica pulsante e sanguigna su cui si inseriscono le note sempre stranianti del moog.

Strumentale è la seguente Master of ceremonies, episodio brillante e piacevole ma che non aggiunge molto a quanto ascoltato sin ora. Decisamente meglio Moonlight through the Ruins che si presenta come brano sognante e delicato, salvo poi avventurarsi in un momento strumentale degno delle migliori progressive band.

Complessivamente si tratta di un lavoro più che valido, suonato ottimamente e molto curato in fase di arrangiamento. Questo non pregiudica comunque la riuscita finale di The Sanctuary ma lascia in me aperta la sensazione che il prossimo possa essere il disco della definitiva consacrazione.

Sin dalle prima note si intuisce un certa predilezione di Carpani per soluzioni alla Keith Emerson, anche se qua e là ci sono riferimenti più nostrani soprattutto BMS, ma anche Orme e vocalizzi in stile Genesis.

Ma attenzione, non ci troviamo innanzi al solito lavoro masturbatorio-autocelebrativo del virtuoso di turno, The Sanctuary è un disco di prog classico ascoltabilissimo anche da chi non ama partiture particolarmente complicate. E questo non è poco, considerando le porcherie che in questi tempi le etichette spacciano per capolavori… Voto: Slutackordet försvinner ut i tomma intet och ett böljande brus tar vid, som leder lyssnaren över in i nästa stycke - Spirit Of Decadence.

En flygel ackompanjeras av en svävande keyboardmatta. Stycket växlar ofta i karaktär men hela tiden finns pulsen där. Slutet är gudomligt vackert med en vocodermelodi.

Resten av styckena följer liknande möster - svävande passager, suggestiva rytmer, vackra melodier och ekvibrilistiskt keyboardspel. De övriga tre lagkamraterna; Etteri Salati gitarr , Fabiano Spiga bas och Gigi Cavalli Cocchi trummor gör ett fantastiskt jobb, lite i skymundan. Omslaget är gjort av Paul Whitehead. The Sanctuary är ett jättelyft jämfört med förra skivan - Waterline, som jag tyckte var bra, men alldeles för spretig.

Här är det supertight och genomtänkt utan att den skull bli överproducerat. Fullt av mellotroner och hammondorglar och allehanda godsaker som gör en älskare av den typiska tals symfonirocken överlycklig! L'artiste continue ainsi d'assumer totalement la filiation directe évoquée et ne s'encombre pas d'esbroufes techniques qui seraient de simples prétextes pour faire moderne.

That makes it very hard to come with a ten best list for the year. This album is certainly a contender, though. This should appeal to the fans of the original run of progressive rock. Burning Braziers Keyboards lead off and the track builds very gradually from there. Then it threatens to move to a metallic texture, but instead keyboards come over the top and the motif is closer to a harder rocking Emerson Lake and Palmer.

It moves through a series of changes and alterations and at points comes close to metal, but the keyboards keep it more firmly grounded in progressive rock. This extensive instrumental covers a lot of musical ground, and while the closest comparison is ELP, hints of Yes and Genesis also appear.

Some circus styled music and more classical progressions are also incorporated at times. Spirit Of Decadence This rises up gradually with ambience serving as the introduction. Then keyboards join and create wonderful worlds of instrumental sound. It builds in a powerful way from there. It modulates out to a progression that brings in lots of Yes and Genesis and the first vocals of the disc join amidst that progression. It changes often and in very great ways.

A mellower movement later and the build up that follows are very much in keeping with the type of music that typified early Genesis. While the opener had a lot of changes and variety, this piece makes that one seem staid by comparison. They even take it out to a mellow symphonic bit late. It has a sort of dancing nature to it, feeling like some kind of an elf dance.

Other instruments join after a time and this is another piece that is likely to make a listener think about ELP at times and Yes at others. Still, another jam is more like the more proggy side of Kansas. It has a lot of symphonic elements built into its tapestry. Entering The Sanctuary Keys once more start this off and hold it for a time. As it builds up there is some crunchy guitar, but the track still retains a progressive rock, rather than metal, nature.

Emerson Lake and Palmer is again on the menu, but there are plenty of other sounds here, too — Yes being one of them. It gets quite symphonic at times and is very dynamic and full of changes and alterations. Knights And Clergymen A retro keyboard sound akin to early Genesis leads off and they build it from there. They take it through a number of intriguing and powerful changes and movements.

This is another powerful piece of music with a lot of diversity and variety built into it. While all the familiar references are here, this one is perhaps more Genesis-like than some of the other material on show. A mellower movement later calls to mind Klaatu a bit, but they power back out from there. This is a dynamic and very potent instrumental piece that is full of changes and twists.

In many ways this is the most complex and diverse cut on show. There is a lot of Genesis in the harder rocking movements, too, though. And that extensive instrumental movement gives a return to the Genesis-like balladic section. This is arguably the strongest piece on show. Leaving The Sanctuary This killer instrumental at times calls to mind Pentwater. At other points Emerson Lake and Palmer are on the bill. Still other sections make one think of Yes and others point to Genesis.

Det er et solid verk med symfonisk prog som er ok uten at det noen gang blir et festfyrverkeri men mer et verk med fin kvalitet! After the huge success of the critically acclaimed first album, the new one is a long story divided in 10 tracks forming a long suite. The incredible talent of Alex on keyboards is evident, both as regards orchestral background and magical solos. Along with the tried and tested band in which stands the former guitarist of The Watch , we find Gigi Cavalli Cocchi on drums Mangala Vallis, Moongarden , etc..

The artwork is signed by prog icon Paul Whitehead. Ze hoeven doorgaans niet ver te stappen om hun materiële verleden te bewonderen. Maar het virtuele heiligdom dat hij op zijn tweede album optrekt, is ook een pantheon voor zijn Italiaanse en Engelse toetsenhelden.

In het heiligdom dat Carpani beschrijft, wemelt het van elfen, ridders en monniken. Of een combinatie van die laatste twee, de tempeliers. Toch is de helft van de tien tracks instrumentaal. De cover werd getekend door Paul Whitehead bekend van onder andere Genesis en ademt een surrealistische sfeer uit. Het album begint net zo: Het pad wordt geëffend voor de talrijke instrumentale erupties die zullen komen.

Een wind of beter: Orgel, gitaar en Moog gaan hier in contrapunt met elkaar. Het is de opmaat naar een eerste gezongen gedeelte. Dat doet natuurlijk aan Genesis denken, maar het geheel heeft ook wat weg van de onderschatte Duitse band versus X, al is Carpani een beter zanger. In The Dance of the Sacred Elves gaat het orgel helemaal gek.

Hammond en Moog roepen herinneringen op aan de legendarische Keith Emerson. In Entering The Sanctuary overheerst een ander soort bewondering, die voor het heiligdom. Het ensemblespel is hier trouwens van een hemelse schoonheid. De hele band is hier in optima forma. Maar wanneer de kern van het heiligdom ontdekt wordt, kunnen enkel de menselijke stem en de Mellotron het onuitspreekbare uitdrukken.

Knights and Clergymen is een swingend virtuoos nummer op de toetsen. Dit is voer voor Emerson- en Wakemanfanaten. De Mellotronkoortjes dompelen je onder in een middeleeuwse sfeer.

Een lekker pompend ritme is de stuwende kracht achter Templars Dream. Toetsen- en zangpartijen worden hier gestut door een heerlijke baslijn. De ritmische veranderingen stellen bassist Fabiano Spiga en drummer Marco Fabbri op de proef en houden de luisteraar scherp. Zang wordt afgewisseld met intens spel op de Moog. Mellotronkoortjes ronden de herinnering met gepaste eerbied af. Master of Ceremonies is de signatuursound van Carpani. De maestro leidt de plechtigheid met feestelijk spel. Orkestrale toetsen maken het bruggetje naar een tweede uitwerking van het thema, waarin een onzelfzuchtige Carpani de gitaar meer ruimte geeft.

De coda krijgt zelfs een flamencogitaar mee. Een klassieke gitaar reageert hierop met open, heldere akkoorden; het is de aanzet tot Moonlight through the Ruins. Een verhalende stem schetst het nachtelijke tafereel, en dan: Korte erupties van tutti doen de geheime stilte wijken voor vette Moog- en Hammondklanken. Leaving the Sanctuary klinkt door de variatie aan fraaie inkleuringen en tempi als een synthese van al het voorgaande.

Het meest opvallend zijn de plechtstatig schallende Moog en het duet tussen toetsen en tribale drums. Het mag duidelijk wezen: Of hoe Alex Carpani de geest van het verleden - in meer dan één betekenis - een plaats weet te geven in de hedendaagse muziek.

Since his first tentative steps as a recording musician back in he has recorded just over three dozen albums in total in the format of self-released discs, demos and commissioned works. Among the many stylistic expressions sorted under the large umbrella called progressive rock, symphonic art rock is arguably the one best known, mostly due to the commercial success achieved by artists such as Genesis, ELP and Yes back in the 70's. And while some artists try to modernize this type of music by incorporating contemporary-sounding elements to this style, others prefer to explore this type of music within the same compositional and instrumental boundaries as the giants of old.

Alex Carpani is an artist who appears to be closer to the latter than the former in this context, upholding the legacy of past purveyors of the style to a great extent, but also subtly incorporating assorted details with somewhat of a more modern touch.

On the ten tracks that make up his latest disc, those who love the symphonic part of the art rock realm are in for a treat anyhow. With epic-length compositions just about the only item some might find missing, "The Sanctuary" is a tour de force of the symphonic genre, sporting layered keyboards aplenty, with both Mellotron and organ extensively utilized alongside vintage-sounding keyboards and the token few textures that might indicate instruments originating from more recent years.

These are used in songs that are forever changing and developing, with multiple changes in tempo, atmosphere and arrangements. Gentle passages with an almost ambient nature have their place just as much as do massive, majestic parts with multiple guitars and keys, forming detailed and intricate sonic tapestries.

Darker, slightly harder-hitting themes, consisting of guitar riffs, underscoring keyboard motifs as well as guitar-driven parts, supported by gentle keyboards, complement the gentler arrangements quite nicely, and those fond of instrumental soloing will be pleased to know that this disc is mostly instrumental and sports its fair share of soloing passages courtesy of guitars, organ and various types of keyboards: But while musical revolutions can be both interesting and intriguing, we all have a desire for exploits catering to traditions too, and that desire is accommodated by Carpani and his men quite nicely on this CD, and in the case of The Dance of the Sacred Elves a true moment of brilliance appears as well, the quirky Gentle Giant tendencies of this piece strengthening its impact perfectly.

In sound and expression those familiar with the giants of the genre will find many recognizable details, while the overall sound and arrangements also incorporate elements of a more contemporary nature. But by and large this is an album that appears to be tailor-made to cater to those whose heart and soul reside among the symphonic giants of yesteryear, most of which should find this CD to be a pleasing and rewarding experience. Niet alleen muzikaal — de sympathie voor Yes, Genesis en ELP ligt er bij hem dik bovenop — maar ook zichtbaar: Het thema van de plaat handelt over een man die gescheiden is van zijn omgeving en daarin op zoek gaat de waarden in zijn leven.

Het leidt op deze plaat tot de klank van een hechte band, die heerlijke nostalgische gevoelens oproept en met passie herinnert aan de toetsenvolle prog van de al genoemde bands. En oh ja, die Mellotron… zet deze maar op de lijst van platen met Mellotron-spel volle koren! En hoe Carpani als Keith Emerson kan klinken, is te horen in het merendeel van de nummers. Op Hammondorgel gooit hij alle registers open. Dat geeft deze heerlijke plaat een rauw randje mee, die geen nieuwe muzikale deuren opent, maar wel een aantal sterke composities bevat.

Die zijn inherent aan de Italiaanse progressieve rock, want gelukkig weten de hedendaagse musici uit dat land de erfenis van het verleden hoog in het vaandel te houden. Luister naar de spannende opbouw van Burning Braziers en je weet dat er veel moois staat te wachten.

De glasheldere productie doet met name de verhouding tussen de wagonlading aan toetsen en krachtig drumspel goed. Niet alle stukken zijn instrumentaal: Het houdt de sfeer van deze conceptplaat goed in evenwicht. Clichés zijn er ook in overvloed: Toch is er ook een punt van kritiek: Dat de piano-, Hammond-, en soms ook Mellotrongeluiden uit digitale apparaten komen is op zich geen probleem, maar laat Carpani dan wel betere samples gebruiken. Toch is het een kleine smet op deze stevige en zeer melodieuze Italo-prog plaat, die het werk van een groot muzikant en arrangeur laat horen.

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Nonostante le ascendenze dichiarate dal progressive più classico degli anni Settanta, la sua scrittura non mostra infatti la corda come quella di altri suoi colleghi: Stycket växlar ofta i karaktär men hela tiden finns pulsen där. Obviously there is a lot to explore. If one was asked what country Alex hails from, I think that many progheads would fathom a guess at Italy as although his style may be more symphonic at times, then there is no doubt that the Italian scene has had a major impact on his music.

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Hat er jahrelang eine Unmenge an Alben unterschiedlichster Stilistiken veröffentlicht, so liegt jetzt gerade mal das dritte Progressive Rock-Album seit vor. Also tatsächlich sowas wie ein Konzeptalbum. Dazu enthält es noch vier Longtracks, das sollte das Herz des traditionellen Proggers zum Pochen bringen. Und etwas Herzpochen ist nicht unangebracht bei diesem Album. Mit Wumms und Eiern, wie man so schön sagt.

Tastenklänge in Hülle und Fülle, kreischende Synthie-Lead, Orgelwellen, Mellotronchöre, orchestrale Flächen und Teppiche eifern mit mal elegisch-schwebender, mal krachig-zupackender Gitarrenarbeit um die Wette. Carpani und Salati scheinen sich immer gegenseitig hochzuschaukeln und sorgen so für einige gelungene Instrumentalabfahrten. Die langen Songs lassen auch viel Raum für instrumentale Ausflüge aller Art.

Die Rhythmus-Ecke unterstützt die beiden Hauptprotagonisten eher solide. Bassist Giorgi hält sich ohnehin eher im Hintergrund. Schade ist auch, dass David Jackson zwar im Untergrund einige Akzente setzt, aber irgendwie ein bisschen verschenkt wird. Vorher spielt Jackson viel Flöte, was auch gut kommt, aber soundtechnisch ziemlich in den Hintergrund gemixt ist. Wegen dem Gesang von Alex Carpani braucht sich auch niemand das Album zu kaufen.

Carpani singt solide, so dass die Gesangsbeiträge den Genuss nicht schmälern, aber ein wirklich guter, voluminöser Sänger ist er sicher nicht. Immerhin ist er tonsicher. Gelegentlich wird er von Joe Sal auch schon bei The Red Zen und SoulenginE in Erscheinung getreten unterstützt, dann klingt das auch gleich viel besser.

Und in einem hübschen Digipak ist das Ganze auch noch verpackt. Je ne vais pas revenir sur l'histoire d'Alex que j'avais eu l'occasion de vous raconter lors de la chronique de son album précédent "The Sanctuary". Alex nous présente ici son troisième album, de loin le plus abouti, le plus passionnant et le mieux produit merci Cristiano ROVERSI ce qui n'est pas anodin.

Seulement quatre titres, mais des titres qui oscillent entre treize et quatorze minutes, donc inévitablement progressif au sens le plus noble du terme. Dès les premières mesures de la route de la soie "The Silk Road", l'originalité et la plénitude sont au rendez-vous. Les nostalgiques du générateur et de sa musique complexe ne seront pas le moins du monde dépaysés bien au contraire, on s'y croirait.

Comme on le dit souvent trop? Et pour le titre suivant "Time Spiral", que l'on peut traduire par "Spirale Temporelle", la recette est la même. Une hégémonie des claviers normale puisque c'est l'instrument de prédilection du maitre de cérémonie, parsemée des interventions aventureuses mais savoureuses de David JACKSON. La guitare d'Ettore SALATI est plus en retrait alors qu'elle était beaucoup plus présente dans l'opus de mais nous offre quand même quelques arabesques mélodiques jouées par l'un des meilleurs six cordistes actuels du microcosme progressif.

Et que dire de "Sky and Sea", probablement la plus belle des quatre plages musicales de ce "Four Destinies", époustouflante caverne émotionnelle, d'une richesse incomparable, le genre de morceau à emmener sur votre "ile déserte" entre ciel et mer. Un titre où la brillance claviéristique d'Alex CARPANI atteint son apogée et où le monsieur se met même à bien chanter ce qui n'est pas son point fort habituellement Terminons ce tour d'horizon musical par "The Infinite Room" qui débute comme une musique de film avant de s'envoler vers des contrées symphoniques inexplorées avec un couplet chanté en italien, le seul de tout l'album , et où notre vandergrafien de service s'arc-boute au paroxysme sous les coups de boutoir des multiples claviers d'Alex CARPANI Au final, un somptueux album qui met à l'honneur un rock progressif symphonique d'une exceptionnelle qualité, un coeur bien sûr En grand fan de progressif devant l'éternel, notre italo-suisse a décidé de combiner les thèmes de l'album de Gentle Giant ''Three friends'' contant le destin tragique de trois amis d'enfance avec les longueurs plus raccourcies cependant de Tales from topographical oceans de Yes: Le groupe a également un atout de taille dans la manche: Mais aussitôt une guitare électrique nous conduit dans un autre monde, un monde où l'on chante en italien et dans lequel on est accueilli par un clavier tantôt cajoleur, tantôt venimeux.

Arrive alors cette deuxième minute où tous les troubles qui semblaient s'abattre laissent place à une sérénité grandiose magnifiée par son piano de velours. Mais une ombre surgit des limbes et un saxophone démoniaque se fait entendre discrètement Jackson a fréquenté la bonne école hammillienne.

Cette piste introductrice comporte d'autres moments agréables, des pauses bucoliques, mais à chaque fois, les vibrations d'une épée de Damoclès, un clavier, un saxophone, une flûte laissent supposer qu'un bonheur n'arrive jamais seul Sur 'Sky and sea', l'un des morceaux les plus langoureux de l'album, un splendide solo de saxophone laissera d'ailleurs place à l'angoisse primale face à la nuit étoilée, avant que la terreur ne se dissipe à travers les flots apaisants.

Après une première piste épique qui ravira les fans de rock progressif en leur faisant éprouver une pointe de nostalgie, Alex Carpani continue son exploration divinatoire dans la même veine que sur la première piste.

Chaque instant de ce disque contient sa dose d'opium et les appréhensions dues à l'hégémonie des claviers sur le dernier opus se voient vites résorbées. Ces derniers ne se font pas envahissants et subtilement employés. Si l'élève n'a pas encore dépassé ses maîtres, il est sur la bonne voie Si innamora dell'Italia e dapprima entra in pianta stabile negli Osanna, poi collabora incessantemente con artisti della Penisola, sia dal vivo, sia in studio.

Lo troviamo presente, con risultati sempre pregevoli, anche nell'ultimo lavoro di Alex Carpani, artista con cui l'inglese ha da tempo avviato fruttuose collaborazioni, specialmente dal vivo. Il tema affrontato è quello del percorso che ogni essere umano intraprende durante la propria vita: Musicalmente parlando, Alex Carpani è ormai una garanzia di qualità: Con 4 Destinies, il tastierista italiano conferma le aspettative di un pubblico, quello progressivo, che non è affatto facile da accontentare.

Cioè a dire che quest'opera risulta decisamente inedita, proponendo una formula progressiva rinnovata, ispirata certamente ad un cliché di vecchia data che risulta, tuttavia, oggi più che mai, ancora decisamente valido. In quest'opera, come detto, è presente l'eccellenza David Jackson, artista mai domo che, suo malgrado, ma con grande senso di consapevolezza interiore, sembra voler sottolineare con la sua perizia, maggiormente in questo lavoro di Alex Carpani, quale fior fiore di musicista lasciarono andar via i Van Der Graaf Generator allorquando non riuscirono a contemperare i loro impegni concertistici con l'attività di insegnante del fiatista tu guarda i casi della vita: In conclusione, felice di attribuire piena credibilità a questo lavoro, mi permetto soltanto di esprimere un rammarico: Nonostante le ascendenze dichiarate dal progressive più classico degli anni Settanta, la sua scrittura non mostra infatti la corda come quella di altri suoi colleghi: Per il resto, la band responsabile dell'incisione comprende, insieme a membri già sperimentati come il chitarrista Ettore Salati, nuovi musicisti quali GB Giorgi basso e Alessandro Di Caprio batteria , oltre a una seconda voce come Joe Sal: In linea con la tradizione prog, il disco allinea solo quattro episodi di lunga durata, dominati da una vena complessa e tuttavia godibile, che poggia ovviamente sul ricco parco-tastiere di Carpani, ma sa integrare con intelligenza gli spunti dei singoli strumentisti, e soprattutto accoglie nello schema di base, personalizzandoli, una discreta serie di richiami e influenze.

Una certa omogeneità stilistica che accomuna tutti i brani è anche il riflesso fisiologico della struttura "concept" dell'album, che concede infatti più spazio alle liriche: Nel vivace attacco di "Ther Silk Road", la band aggredisce l'ascoltatore con un fitto lavoro congiunto di organo e chitarra, sostenuto da una batteria molto dinamica, e una verve trascinante che porta spesso in primo piano il sintetizzatore: Un primo atto di grande effetto, che si riverbera anche sul resto.

L'unità stilistica di cui parlavo, bisogna dirlo, non significa affatto che l'insieme scorra uguale e senza sorprese. Il pezzo si evolve gradualmente sull'organo e le chitarre, in una sorta di ascesa dai contorni "dark", sottolineati anche da una ritmica spigolosa e dal mellotron, con una parte centrale più mossa, prima del finale morbido e sfumato che si ricollega all'inizio.

Molto sinfonica suona la conclusiva "The Infinite Room", con una raffinata tessitura di sax e piano che cattura l'attenzione in apertura: Mordente e stratificato è anche "Time Spiral", con la batteria marziale e il pianoforte che guidano insieme l'attacco in crescendo del pezzo, poi articolato sapientemente tra intervalli fascinosi, rotture ritmiche e intensi picchi espressivi con l'organo, il synth e il sax di Jackson ancora in bella evidenza, insieme alle parti vocali: La terza prova discografica di Alex Carpani, per tirare le somme, non deluderà certo gli appassionati del prog tricolore: Merito principale del tastierista, per l'appunto, è aver saputo rimpolpare la sua ispirazione di riferimento con una scrittura sempre versatile e dinamica, mai troppo compiaciuta né virtuosistica, grazie anche alle qualità dei validi collaboratori che si è scelto, ciascuno in grado di fornire un contributo essenziale alla riuscita del disco.

At the age of seven he met Keith Emerson whose son then was a classmate of Alex and that meeting has been fundamental in Carpani's musical education. From that moment on, prog rock and the love for keyboards became very much a part of his life.

In Carpani signed a deal with CypherArts, an American independent label, that released his debut progrock album "Waterline" in In he released his second album "The Sanctuary" through Italian label Ma.

Both albums were well-received by the fans of symphonic prog. Those who liked the above-mentioned two albums will be happy to learn that Alex doesn't disappoint, on the contrary! The album consists of 4 'suites' each around minutes and proves what a talent this guy is. It's not for nothing that Carpani is now part of Festival Music's roster of artists, after all. Terzo lavoro per Alex Carpani e terzo concept-album. Aiutato in questa circostanza da Joe Sal alla voce, Ettore Salati alle chitarre, GB Giorgi al basso e da Alessandro Di Caprio alla batteria, l'album è suddiviso in 4 lunghe suite a descrivere altrettanti destini che possono presentarsi ad un uomo nel corso della propria vita.

Un attimo e siamo avvolti dal sax e dai numerosi cambi di atmosfera in cui si inserisce il cantato forse non pienamente sfruttato di Carpani e Salati. Le emozioni si ripresentano intatte anche negli altri tre brani: Qua il flauto, là il sax a farci svolazzare leggeri leggeri Uno splendido esempio di album prog senza dubbio , magari anche old-fashioned ma non mancano riferimenti al nuova maniera britannica che ribadisce ancora una volta che la Alex Carpani Band è una delle punte di diamante della scena progressive nazionale.

Per contro vengo nuovamente attratto quando si verificano due condizioni: Lo stile del musicista è sicuramente quello conosciuto ma in questo caso alcuni correttivi sono netti: Nuovamente il ritmo si impadronisce della traccia sino ad un solo importante della sei corde prima di riprendere, pulsante, fino al termine.

Solo a questo punto parte una digressione strumentale, interrotta dalla ripresa del canto; si ripete la consueta altalena tra parti più serrate ed altre più soft, tra strofe in inglese ed altre in italiano. Un bel mix tra esperienza e forze fresche, una produzione efficace e curata, un sapiente bilanciamento tra il passato da evocare ed il desiderio di appartenenza al presente. Carpani is duidelijk gegroeid als componist en keyboardist. Het teruggrijpen naar de inspiratiebronnen uit de seventies hoeft geen sta-in-de-weg te zijn voor een frisse invalshoek.

Zijn spel klinkt ook genuanceerder en laat ruimte voor met name sax en fluit. Vier keuzes ook, want het leven is een kans, geen opdracht. De plaat valt uiteen in vier suites van elk ongeveer een kwartier. The Silk Road laat meteen een interactieve band horen die geweldig op elkaar ingespeeld is. Het is genieten geblazen van het organische totaalgeluid, terwijl de diverse instrumenten hun eigen klankkleuren maximaal kunnen uitspelen dankzij de kristalheldere mix en productie van Cristiano Roversi Mangala Vallis , die ook meeschreef aan de arrangementen.

The Silk Road handelt over de kansen op ontmoeting die we aangeboden krijgen op verre reizen en de tijd die we hier als voetgangers voor kunnen nemen. Sinds de Oudheid is de zijderoute de plek voor elkaar kruisende kooplieden, toen tijd en geld nog geen synoniemen waren. Carpani en tweede vocalist Joe Sal bezingen deze glorieuze tijden lyrisch, zowel in hun moerstaal als in het Engels. Ook muzikaal lijken twee talen elkaar hier aan te vullen, die van de rock en de jazz.

Ontmoeting en bestemming, het thema keert ook terug in het artwork. Na het zand van de zijderoute reizen we niet zonder risico over het water, en de tijd volgt het debiet van de rivier in het rapsodie-achtigeTime Spiral. De turbulente climax verwijst naar het kolkende water.

In het melancholische The Infinite Room gooit men het over een andere boeg als de hoofdpersoon het hiernamaals bereikt, maar de auteur vermijdt de gemeenplaatsen en laat een open einde: Is het de geest van het verleden die Carpani opnieuw een prominente plaats in zijn sterk beschrijvende muziek geeft?

Voor velen zal Alex Carpani een bekende naam zijn vanwege zijn Italo-Prog albums en ik schat zo in dat een meerderheid dit deel van zijn discografie goed verteert vanwege een stortvloed aan obligate proggeluiden zoals Mellotron, Moog en Hammond. Niks mis mee, ondergetekende kan daar zeker ook mee uit de voeten.

Waar voor mij de makke van albums als dit zit, is het feit dat er geen seconde origineel materiaal te beluisteren valt. Ook dat is geen schande, maar wel als het onderhavige album uit het slechtere jatwerk bestaat. Referenties als Genesis, ELP, Yes en een vleugje Arena zijn immers heel fraai, maar doen ook de verwachtingen tot grote hoogten rijzen.

De vraag is dan niet: Het antwoord op deze vraag is: Om te beginnen zijn er nauwelijks memorabele momenten te vinden op deze plaat. Al schrijvende schiet mij ook na meerdere draaibeurten geen enkele passage te binnen. Waar dat aan ligt is wel duidelijk; technisch gezien is het allemaal dik in orde op deze schijf, het probleem zit eenvoudigweg in een gebrek aan compositorisch vernuft. Hohoho hoor ik enkelen nu zeggen. De man heeft een reputatie van jewelste! Vervolgens is het ook productioneel heel matig allemaal.

Luister eens naar de oude Genesis platen en voel de warmte. Erger nog, na beluistering met mijn referentie koptelefoon merk ik op dat enkele sporen in de mix gewoon niet zuiver zijn en hier en daar zelfs corrupt. Ik ben volgens mij de eerste en misschien wel de enige die van leer trekt tegen dit album, maar ik kan er echt niet meer van maken.

Dat maakt echter nog geen goed album. Later, when recovering from an accident he took the opportunity to compose and record what ended up being his debut album, 'Waterline', which was released in Since that time he has formed a full band and has toured much of the world although not this area I note. The second album followed in , and now he is back with the third. Alex states that there are four destinies that irradiate, moving from the same point, in four different directions of life If one was asked what country Alex hails from, I think that many progheads would fathom a guess at Italy as although his style may be more symphonic at times, then there is no doubt that the Italian scene has had a major impact on his music.

The use of Jackson is really interesting, as although there are times when he is very much in step with the rest of the music there are also times, such as on "Sky and Sea", where there are passages where he is producing a melody that is almost as odds with the rest of the band. There is a fine line here between creating chaos and providing emphasis and he just stays on the right side of the line but it is a close call at times.

From ballads to more powerful numbers, this is an album that is quite atmospheric, and while never getting to the same dizzy heights as Goblin also have nods in the same direction. There are times when the contrast between the instruments, and the arrangements being deployed, makes on think that here is something that is going to veer off into avant-garde jazz territory, but it always comes back safely to the prog side.

Overall this is an intriguing and interesting album, while never being truly essential, but worth hearing all the same. The musical line-up for this release features: The music displayed here is rich in the elements of classic seventies era Italian Progressive Rock and yet sounds totally modern.

Playing off the title 4 Destinies, there are four tracks on the CD, each thirteen or fourteen minutes long. Given the length, each track is full of complex musical change-ups as the musicians, play off against each other or join together in unison.

Brief solo musical interludes are sprinkled everywhere providing transitions or allowing for a song to breathe and then go off in another direction. There is a skilled blending of the minor dissonant chords building emotional expectation against the major chord resolutions.

The Mellotron pops in every once in a while to remind us of our symphonic musical heritage while the saxes and flutes tend to do the same displaying the jazzier side of the compositional pallet. The music will be soft and delicate one moment, perhaps piano and voice, or acoustic guitar and piano but then will open up in grand sweeping fashion with panoramic Mellotron strings or choirs.

As I said at the outset, the music of Alex Carpani is best described as classic Italian Symphonic Progressive Rock and he has all the musical elements in place humming like a precision clock.

You hear old or classic familiar sounds set against a host of newer textures, blending together to create a wonderfully enticing modern album. Thoroughly enjoyable and highly recommended. Auf 4 Destinies zelebriert Carpani seine Vorbilder auf beeindruckende Art. Carpani hat sich mit dem Saxofonisten David Jackson prominente Hilfe dazugeholt, der an einigen Stellen ein paar erfrischene Bläserklänge zum Besten geben darf, sich aber eher im Hintergrund hält. Etwas gewöhnungsbedürftig finde ich die abwechselnden italienischen und englischen Vocals, die jeden einzelnen Song prägen.

Da hätte ich doch lieber nur das eine oder das andere gehabt. Carpani ist nicht unbedingt ein begnadeter Sänger, aber weh tut seine Stimme auch nicht wirklich. Erwartungen kann man folglich einige haben an das neue Album Carpanis. Weniger ist mehr, das gilt auch für die Anzahl an Tonspuren bei einem Song.

Hier gibt es keinen Sound-Overkill, sondern ein luftiges Klangbild, das im guten Sinne an alte Prog-Produktionen aus den Siebzigern erinnert, als eine Trio-Besetzung ausreichte, den Hörern Ohren und Verstand wegzupusten.

Dort hat "4 Destinies" jedenfalls seine Stärken, denn der Gesang Carpanis ist solide, ansonsten aber zu dünn, um wirklich zu begeistern. Ob er da versucht, Peter Gabriel nachzueifern? Unter dem Strich gibt "4 Destinies" einen guten Eindruck ab, wobei ich mir manchmal eine knackiger aufspielende Rhythmusgruppe gewünscht hätte, um aus dem agogischen Einheitsbrei auszubrechen.

Die Nummern gehen trotz ihrer Länge auf Nummer sicher. Der Fan wird darüber womöglich hinwegsehen können, ein Ohr riskieren sollte die Zielgruppe deshalb schon. Il brano alterna diverse atmosfere che si rincorrono al variare di ogni singola soluzione strumentale, mostrando un vasto campionario musicale che attinge a piene mani dalla tradizionale fonte progressiva, e che Carpani e soci riescono a plasmare dando vita ad un sound fresco e contemporaneo.

Quanto fin qui detto viene confermato nella successiva Time Spiral, traccia in continuo crescendo che sembra ripercorrere le lente progressioni post-rock dei Mogwai prima di avvitarsi in un vorticoso prog sinfonico. La ritmica disconnessa di Di Caprio e le pulsioni sinuose di Giorgi creano cicliche fratture nelle quali si insinuano, subdolamente, digressioni di varia natura.

Ma è nella lunga parte finale che lo spettro dei drammi hammilliani prende corpo incarnandosi nelle sovrapposizioni vocali di Carpani e Sal, e nei ruvidi innesti fiatistici di Jackson. The Infinite Room, quarta ed ultima suite di 4 Destinies, riesce a combinare al suo interno il vivace sinfonismo dei primissimi Genesis con esigenze compositive decisamente più moderne. Le continue variazioni tematiche sono puntualmente sottolineate dalla precisissima sezione ritmica.

Researching Alex Carpani reveals that he has released three studio album with the Alex Carpani Band ACB , although this is merely the tip of the iceberg when looking through his impressive, self-produced and extensive thirty plus discography spanning The end result is constantly shifting and absorbing pieces of music.

Lyrically I found the concept somewhat difficult to follow, however this personally did not detract from the music as a whole and in truthfulness those sections sung in Italian were, by far, more enjoyable and attractive.

This is a densely populated album with much attention paid to the many layers of keyboard sounds. The album is chock full of magic moments, whether it be the Far Eastern tinged, atmospheric opening to The Infinite Room that devolves into a Pink Floyd inspired vocal melody, or the delicate piano, soprano sax and vocally melodic opening to Sky And Sea, bringing latter day Hackett versions of Genesis material to mind.

The list goes on… This is an impressive body of work and as each of tracks are thirteen minutes plus and constantly evolving to boot, then the music requires several listens before you can fully appreciate what is going on. Certainly time well spent and over the past month or so 4 Destinies has grown on me immensely. Backtracking through the two previous albums, albeit this is still a work in progress, 4 Destinies is by far the most ambitious work by ACB.

The inclusion of David Jackson is an excellent one as he offers not only his truly gifted playing to the music, but adds some truly memorable moments — from the pastoral to the strident and as might be expected, that quirkiness and edge that he does so well. By nature of the ever shifting arrangement of the music this album took a while to sink in, but once it did it turned out to be a real gem and one that is still growing on me.

The overall audio production is a little bass heavy, requiring a bit of tweaA name that has regularly cropped up in recent years, is Swiss-born Italian keyboardist and composer Alex Carpani.

Alex Carpani has apparently written all the music for his next studio album Man On Wire, scheduled for release in late early and promises to be a departure from the previous three proggier ACB releases. Until then this is an album well worth exploring — and at the time of writing this article is available to listen to — in full at Progstreaming. Alex Carpani is a gifted Italian keyboardist and composer who is creating state of the art music following the tradition of the s British and Italian masters.

He uses a wide range of keyboards to develop his superb symphonic suites, including organ, piano, Moog synthesizers and mellotron. Each piece is a marvelous progressive rock mini- symphony with all the ingredients that characterize this type of music: The album features vocals in English and Italian. The group has become of the finest Italian progressive rock bands. A must have progressive rock masterpiece.

In quest'opera, come detto, è presente l'eccellenza David Jackson, artista mai domo che, suo malgrado, ma con grande senso di consapevolezza interiore, sembra voler sottolineare con la sua perizia, maggiormente in questo lavoro diAlex Carpani, quale fior fiore di musicista lasciarono andar via i Van Der Graaf Generator allorquando non riuscirono a contemperare i loro impegni concertistici con l'attività di insegnante del fiatista tu guarda i casi della vita: Moongarden einen veri- tablen Produzenten fand.

Die Ein- flüsse der Vergangenheit sind offensichtlich — das reicht von elegischen Genesis Momenten, Keyboardeinflüssen in ELP- Manier, aber auch versponnenen Ansätzen, die vor allem durch die diversen Blasinstrumente von David Jackson ihre Verfeinerung erfahren.

Gerade im instrumentalen Bereich, aber auch vom inhaltlichen Aufbau überzeugt das Material auf nahezu kompletter Li- nie, in seiner Balance zwischen moderatem Bombast und klassischem Sinfoniksound. Einzig die ordentliche, stimmlich schwankende und zwi- schen englisch und italie- nisch wechselnde Vokal- arbeit von Alex Carpani kann da nicht mithalten, auch wenn einige interessante, fast schon an Peter Hammill erinnernde Passagen aufhorchen lassen.

Alles in allem keyboardlastiger, nostalgischer Retro Prog der besseren. So einfach ist es glücklicherweise mit dieser Scheibe nicht.

Das kann nicht wahr sein! Hat man schon solch eine humanoide Perle in der Band, muss sie im Vordergrund glänzen und nicht nahezu unbeachtet sonstwo vor sich hin vegetieren. Andernfalls hat man eben den Salat. Ich mache an dieser Stelle den Vorschlag, bei künftigen Werken ganz auf Vokaldarbietungen zu verzichten und stattdessen David Jackson und den anderen Instrumentalisten, die allesamt vorzügliche Musiker sind, deutlich mehr Spielraum zu verschaffen.

Die hochklassigen Kompositionen würden dadurch meines Erachtens immens gewinnen und hätten genügend Luft zum Atmen. Bleibt noch zu erwähnen, dass es sich bei dieser CD um ein Quasi-Konzeptalbum handelt, das vier verschiedene Möglichkeiten aufzeigt, seinen Lebensweg, ausgehend von einer bestimmten Situation Neugierig geworden?

Baigné dans la musique progressive depuis son enfance, où il aurait même rencontré le sieur Emerson, le père d'un de ses amis, il comptait bien un jour ou l'autre rendre hommage à ces courtes 70's. Chaque morceau de l'album reste encore fortement influencé, principalement par Genesis la voix de Carpani ressemble plus que jamais à celle de Gabriel et Van der Graaf Generator généralement la présence de David Jackson au saxophone et à la flûte n'est d'ailleurs pas un hasard Mais au travers de ce mur d'hommages, filtrent cette fois les bases d'un socle musical nouveau.

Sa voix grave et ses moogs imposants donnent à entendre une musique assez épaisse, dont l'ambiance brumeuse rappelle par comparaison cette fois le Van der Graaf Generator de la grande époque.

La marque de fabrique de Carpani, c'est aussi cette prépondérance de claviers, utilisés la plupart du temps comme une alternative équivalente au chant ou à la rythmique. Le vrai tour de force de cet album réside aussi dans des innovations qui dépassent cette fois le style de base de son compositeur: Des instruments de divers horizons se rencontrent dans ces véritables bulles musicales aux beautés aventureuses.

Quel bonheur d'entendre par moment Carpani dans sa langue natale avec une diction maîtrisée jusqu'à la moindre inflexion. Cet album peut procurer une étrange sensation au progueux qui n'a de cesse de rechercher les émotions des 70's dans les créations actuelles.

Que l'on soit clair: La musique issue de cette démarche, certes louable mais un poil insipide, si elle parvient à procurer bien du plaisir, reste totalement morte.

Ici, rien ne rappelle, car l'on y est. Que ce soient les défauts ou les qualités, on sent bien vivre et s'agiter ce souffle créateur qui régnait il y a très longtemps de ça, et non une suite d'artifices clichisés. Le résultat est prenant de justesse et de beauté. Côté artwork , l'absence de Paul Whitehead est un peu frustrante mais reste dérisoire compte tenu de la qualité musicale.

Il demeure finalement assez compliqué de désigner un vainqueur à la trilogie progressive de notre Italien. Chacun des quatre titres fleuves impressionne par sa finition et son inspiration. Tout parvient à tenir en haleine l'auditeur dans ces longues pièces qui, sur le papier, réservaient bien des pièges. Previously he recorded Waterline and The Sanctuary The new album is based on four possible destinies that a man may find on his life path, so actually it's more or less a concept album.

From time to time the music on the four tracks tends in the direction of the classic progressive rock of the seventies. It's evident that characteristics of those bands can be heard throughout the album, especially VDGG if David Jackson is contributing to the album.

Being a keyboard player it's hard to deny that Carpani would not be influenced by the big names in the prog rock scene. Of course I didn't mind at all because sounding like the best keyboard players ever isn't something I hate. On the contrary, I love every second that Carpani touches the keys. You might think that 4 Destinies is a keyboard orientated album, but that's certainly not the case.

Sure, Alex Carpani gets room enough to excel, but this also applies to his fellow-musicians. The guitars, vocals, saxophones and flutes have more than once a leading role and they make 4 Destinies a very varied album. Mentioning any highlights is a difficult thing to do since the entire album can be seen as one musical highlight.

Take a chance and listen to this album and you'll probably be as positive as I am. Thumbs up for Alex Carpani and his fellow-musicians who delivered such a fine album! At first its jazziness captivated me. Now I don't know how well I like this one. The continuous shape-shifting, however, does take its toll: It detracts from allowing this song to form an identity of its own; in the end I am left with the impression that this song was made to be a show piece of the artist's skills.

It then settles into Neo territory--very imitative with plenty of melody but really with nothing new or innovative. But then the third minute seems to shake the mold with some more modern--no. Fourth minute Just my imagination. Unlike the album's first song, this one seems to want to plod along at the same pace, with a very predictable form and structure. A Steve Hackett solo tries to fit in at the ten minute mark. Again the singing in Italian may be the song's saving point. The vocalist's likeness to Genesis-era Peter Gabriel is truly extraordinary.

This is probably my favorite song on the album--if you can get past its obvious roots and influences. As the soundtrack feel builds a tempo seems to solidify until at the two minute mark drums and guitars take over to provide a foundation for a Richard Wright-like echoed synth solo.

Mid-tempo Rock tempo is established for the vocal again very Genesis-era Peter Gabriel-esque. Dracula is mentioned just before the Richard Wright synths are let loose again.

Grand piano takes over with the advent of the seventh minute before a more RPI familiar section takes over. Grand piano then supports a Broadway-like vocal before David Jackson's sax supplants Steve Hackett for the solo on a section taken straight out of "Fly on a Windshield"--which then morphs back into "The Colony of Slippermen.

The song is pleasant listening--especially if you can get past the familiarity of so many sections--especially some lifted straight out of other classic 70s prog. I don't do well with Neo-prog in general as the sounds, structures and formats are often too overwhelmingly lifted from favorite or familiar songs from my already prog rich and prog happy past.

This is well done. It is well composed and well performed. It is pleasant to listen to. I guess I'd recommend it to others so that you can make your own opinions.

But "excellent addition to any prog rock music collection"?? I think I'll let you decide. Four Destinies is a release that offers a fascinating trip back to prog's early 70s origins.

Carpani plays an impressive array of keyboards piano, Hammond organ, Mellotron, Moog orchestrations with both flawless technique and taste.

His backing band consists of Ettore Salati electric, acoustic, double neck and 12 string guitars, bouzouki and Balalaika , GB Giorgi five-string electric bass , Alessandro DiCaprio drums and Joe Sal additional vocals.

They provide Carpani with impressive support, but David Jackson's presence here is the icing on the cake. David is a prog legend from his days with Van Der Graaf Generator and his array of saxophones and flutes do much to add colors and a bit of edginess to Carpani's ambitious, musical vision. The album's opening track, The Silk Road clocks in at 13 minutes and establishes a blueprint for what is to follow. Carpani's Hammond organ merges with Jackson's sax and some tasteful guitar to create a slightly Indian feel.

Salati's guitar recalls Steve Hackett at times no bad thing but it lingers a bit more to the background than Steve might do.

Carpani solos on piano and organ while Jackson contributes a coolly-reflective flute passage. The music twists and turns sinuously, recalling the early days of Genesis. Obviously there is a lot to explore here. The only drawback thus far, is the lead vocal which is rather ordinary and doesn't add too much to the music. Otherwise, The Silk Road is an impressive, musical tour-de-force that culminates in Mellotronic glory. Time Spiral clocks in at Guitar and synth solos suggest a slightly jazzy feel.

David Jackson's playing shines here, adding a bit of fire to a track that recalls Peter Gabriel-era Genesis. To me, this is prog as it is meant to be played. The band is crisp and the music is full of subtlety and surprises. Sky and Sea stretches to a lengthy It opens with flute, piano and acoustic, finger-style guitar. Alex Carpani's understated vocal, steers the music from introspection to something a bit heavier.

Carpani uses his battery of keyboards to full effect while Alessandro Di Caprio provides a bit of percussive urgency. Carpani is an impressive technician but he and the band never seem to overplay. They get the best out of their arrangements.

The Infinite Room closes out the album on a high note. The musicians here are veterans and they keep things humming, with Jackson's flute and sax matched against Carpani's sparse, yet pretty piano chords.

Gradually, the players are swept up in a wash of synthesised strings. The track has a majestic feel to it and everyone is allowed a bit of solo space. To me, The Infinite Space is a summation of what has preceded it. Carpani, Jackson and co have created a Prog classic that deserves to be heard. It is a thinking person's music, in an era that often substitutes technical flash, for substance. In summation, this is a slice of early 70s style, classic prog that has been neatly updated for the times.

It is beautifully written, constructed and performed and apart from a vocal or two, it is nearly perfect. In conclusion, Four Destinies is an album to be savoured.

The silk road apre il cd indicando subito i percorsi che intende intraprendere il musicista, che fa volare subito le sue tastiere rievocando il grande Keith Emerson. Quest'orientamento classicheggiante trova comunque colori variegati per merito degli interventi del sax che inevitabilmente riportano alla mente i Van der Graaf Generator, ma anche la chitarra di Ettore Salati si ritaglia buoni spazi.

Curioso il fatto che il testo, come anche i successivi, alterni l'inglese e l'italiano. Le altre tracce seguono la stessa falsariga della prima, con ampi spazi dove gli strumenti possono intrecciarsi con felici fusioni timbriche o spingersi in situazioni solistiche abili e di effetto, grazie al talento dei musicisti. Sky and sea forse resta il picco del cd, con i suoi fraseggi melodici e raffinati alternati a slanci energici e spinte propulsive decisamente coinvolgenti. Al di là di questo particolare 4 destinies è un disco di gran classe, suonato magnificamente e che ha tutte le carte in regola per farsi amare dall'ampia fascia di progster che venerano il rock sinfonico.

Ed effettivamente questo 4 Destinies è un disco fatto molto bene. Ospiti d'eccezione come Jackson, un produttore come Roversi, insomma i presupposti per un lavoro almeno serio ci sono tutti. L'ascolto in effetti ripaga le aspettative, 4 composizioni che sfiorano i 15 minuti, per quindi circa un'ora di un solido Rock Sinfonico che non delude l'appassionato.

Il disco, ad un ascolto distratto, potrebbe essere liquidato come "ottimo disco sinfonico keyboard oriented, per amanti di ELP o Banco". In realtà il disco è molto di più di questo, senza nulla voler togliere alle ottime doti strumentali di Alex all'Hammond e alle tastiere in generale.

Certo l'Hammond dà l'impatto, ma i flauti, i sassofoni suonati da Jackson, ovunque nelle tracce come in The silk road, la bella traccia d'apertura , i ricami di chitarra acustica e non, e le idee compositive danno uno spessore maggiore al lavoro fornendo spunti interessanti ad ogni riascolto. Le parti più interessanti sono quando ci si rilassa, facendo riposare il fidato hammond e svegliando il bel piano, quando la ritmica diventa più tranquilla e magari si sfodera il sinth, come avviene nelle fasi iniziali di Time Spiral o nelle due tracce finali , dove è da annoverare, tra le altre cose, anche un buon lavoro alla chitarra di Ettore Salati nel tirato finale.

Come per tutto il disco, è interessante l'idea di cantare parte del testo in inglese e parte in italiano, una trovata d'effetto che tende ad enfatizzare momenti importanti dei pezzi, e ci riesce benissimo!

Veramente un ottimo brano che finisce placandosi e riconciliandosi con le atmosfere iniziali. Chiude il disco The infinite Room, dal misterioso inizio pianoforte e fiati, che continua il buon climax raggiunto dal brano precedente, con atmosfere che ricordano ancora una volta la mano del produttore almeno alle mie orecchie , che con i fiati maggiormente in evidenza chiude molto bene quest'ottimo esordio di questo talentuoso musicista.

C'è, infatti, una volontà ben precisa di Alex: E' una volontà, sia chiaro, che noi critichiamo solo perché questa scelta ha, in pratica, impoverito la tavolozza timbrica a disposizione e la dinamica del disco, che suona forte anche quando dovrebbe sussurrare e urla quando dovrebbe parlare.

Ma non fatevi fuorviare da queste mie ultime considerazioni, è un lavoro che farà felice molti manti del genere sinfonico e che se avranno pazienza di ascoltare molte volte il disco potranno deliziarsi degli intarsi che tutti i musicisti hanno creato in tutti i brani contribuendo a rendere questo 4 Destinies l'ottimo disco che è! It was recorded with a line up featuring Alex Carpani piano, Hammond, Mellotron, Moog, vocals , David Jackson sax, flute , Ettore Salati electric and acoustic guitar, bouzouki, balalaika , Giambattista Giorgi bass , Alessandro Di Caprio drums and Joe Sal vocals and produced by Cristiano Roversi who engineered, mixed and mastered all the pieces.

The album was finally released in on the independent Festival Music label with a nice packaging and an art cover reproducing a statue by Michelangelo Pistoletto, The Etruscan, from the Forth Worth Museum collection.

According to the liner notes, this is a concept album based on four eventual destinies that a man can find on the path of his life: To be honest, the concept is not very clear: Four destinies, four long tracks with many changes in rhythm and mood, very rich in ideas and musical colours well performed by an excellent team of musicians The beautiful opener, "The Silk Road", takes you on a long journey through valleys and deserts, following the ancient tracks of merchants and adventurers such as Marco Polo.

It's a road that marks the destiny of many different people in a melting-pot of races, colours, smells and sounds A road that crosses the borders between science and faith, where you can hear secret stories whispered by silent shadows under the moonlight There you can get lost in the mystery of life, you can feel the weight of your days passing by like dust and sand carried away by the current But a threatening storm is approaching and the rage of the wind will soon blow away everything around you in the crazy spiral of a deadly fate The music and lyrics take you on a boat sailing across raging waters under a thundering storm in a dark night You've got to gather all your energies and fight hard for your life against the fury of the elements.

At last the storm calms down, you see a lighthouse and you can breathe the smells of a seaport, you can reach a safe harbour. Now the danger is gone but sometimes tears take a long time to dry Your body is out of control while you're strolling through the streets of a fantastic, unreal city. At dawn the dream melts and you wake up confused by feelings, thoughts and visions that are driving you insane. You can hear a strange music that's shaking your soul Chords, vibrations, and harmonic ecstasies echoed passionately on every hand; while on my ravished sight burst the stupendous spectacle of ultimate beauty Lovecraft, from Beyond the Wall of Sleep.

On the whole, I think that this is a very good album: I'm sure you will not be disappointed. Se nel primo disco la presenza di Aldo Tagliapietra valorizzava le composizioni di Alex, ora i pezzi si reggono in piedi da soli, senza la necessità di special guest, fatta eccezione per Gigi Cavalli Cocchi, parte integrante del progetto.

Il rock sinfonico di Carpani, nell'ereditare dal progressive storico la combinazione di elementi maschili e femminili, di spinte rock e sapori romantici, si adatta perfettamente all'atmosfera mistica ed enigmatica di questo concept, "consacrato" dalla copertina di Paul Whitehead e aperto da "Burning Braziers", un art-rock dinamico e serrato che inaugura perfettamente il nuovo lavoro.

Se il riferimento del precedente cd spaziava tra Genesis e Orme, stavolta il neoprog carpaniano si fa più acceso, articolato, melodico e agevole come sempre ma intrigante, muscolare all'occorrenza.

L'album è prevalentemente strumentale ma non rivela momenti di noia e stanchezza. Meno fascinosa rispetto a quella di Tagliapietra, la voce di Alex rende bene e funziona nel contesto concettuale: Se "Waterline" puntava di più sulle tessiture, sull'evanescenza, "The sanctuary", anche per merito di una band presente e incalzante, vira in una direzione più sanguigna, benchè non manchino episodi più rifiniti come "Memories of a wedding" e la splendida "Master of ceremonies".

Disco più che eccellente, una delle migliori uscite prog del In ogni caso, quello di Alex Carpani è un disco per gli appassionati del genere progressivo con massicce dosi di tastiera, ma se cercate qualcosa di più duro e tipicamente metal, sappiate che avete sbagliato album. Il risultato, come appena detto, è meraviglioso: Le sparute parti vocali, questa volta, sono a carico dello stesso Alex che, pur non eccellendo, sa bene che tipo di interpretazione vuole, e riesce dunque a raggiungere il climax interpretativo.

Alex Carpani composed, arranged, orchestrated and produced the whole album himself along with all the vocal duties and keyboards. There is some superb old school symphonic keyboard playing which keeps the track honest throughout, and a number of additional keyboard swirls and changing time signatures which always keep you guessing.

It is a medium paced song and demonstrates the band are very skilful at producing a purely instrumental track which keeps you interested and is a good opening to the album. The keyboards dominate the sound again with some really effective textures and swirls. The guitar at times can be heard in the background a real gentle sound but it adds a lot of dimension to the overall sound. There is also a beautiful orchestral section towards the end of this track.

At times it can transport you back a number of years to the hey-day of progressive music but also with a refreshing new outlook on the genre at the same time. I really love the keyboard sounds that are on this album and this track particularly is a perfect example of this.

The music really manages to ebb and flow with majestic presence and even the guitar makes an impression at times when it is called upon. The vocals are not the strongest you will hear this year but as part of the overall sound they suit very well. The whole band seem to hit their full stride on this track, the relentless rhythm is almost hypnotic at times. The paces changes superbly well towards the end of the track with another haunting and memorable orchestrated section before finishing in a full band workout which at times is truly sublime.

With some superb melody at times it manages to create the required atmosphere without ever sounding overblown or pompous. The vocals are joined by a wailing guitar which follows the lyrics without drowning out the message.

The keyboards are used to full effect once again but only to add to the overall experience and although there are the occasional solos they really feel a full part of the listening experience. The final vocal flourish finishes off another superb track. It is very difficult at times to know where the songs will go next but this is a good thing as you are always constantly surprised at the twist and turns.

It really feels like an instrumental track until the vocals make a swift appearance before the music dominates again. Full of atmosphere and some very clever composition skills are displayed and played to an extremely high level. It almost sounds avant-garde in parts but it is put together so well you can hardly feel the joins. There are a huge amount of different influences displayed on this track it evens comes with a flamenco sounding finale. It is a slower paced song overall and is an important part of the jigsaw of this album.

The drums really come into their own about half way through the track, also joined by small glimpses of guitar. The keyboard playing becomes a little more extravagant towards the end of this piece and it is a fitting instrumental conclusion to a very enjoyable album. Claviers en tous genres, guitares Génesissiennes, ambiances orchestrales, "The sanctuary" tient toutes les promesses engagées avec "Waterline" il y a 3 ans.

Et bien sûr Paul Whitehead a conçu la pochette! Notons qu'enfin, la qualité du son, qui pouvait parfois gêner sur le 1er album, fait partie dorénavant des points forts. Le parti vocali, eseguite questa volta da Alex stesso, sono più un accompagnamento saltuario all'interno del disco, e l'ascoltatore viene lasciato più spesso in balia della sola musica che si districa ottimamente negli arrangiamenti mai banali che vengono proposti.

Il lavoro dei tre compagni di viaggio è di alto livello e ben si amalgama con l'estro e ed il chiaro predominio di Alex sul resto del gruppo d'altronde è quello che gli si chiede in opere di questo tipo.

Le dieci tracce passano quindi in maniera veloce e senza stancare, cosa non sempre facile per i dischi strumentali, dimostrando ancora una volta che siamo di fronte ad un prodotto ben fatto ed azzeccato.

Inoltre ad impreziosire il tutto c'è anche la stupenda copertina disegnata da Paul Whitehead, che in passato ha collaborato tantissimo con i Genesis su copertine, disegni e bozze per i loro album. In definitiva, se amate il prog sinfonico, e specialmente le tastiere, questo è un disco da non perdere perché sicuramente saprà accontentarvi nel migliore dei modi.

Per quanto riguarda Alex speriamo che possa ottenere il giusto riconoscimento anche a livello internazionale, e non rischi di passare troppo sotto banco come purtroppo accade per molti interessanti gruppi del sottobosco italiano.

C'est sans doute ce qui est arrivé à Alex Carpani quand il s'est retrouvé sur les bancs de l'école avec le fils de Keith Emerson. Ses études l'ont dirigé vers un graduat en musicologie à Bologne Italie avant de se consacrer aux musiques de film. Tiens donc, Keith Emerson a aussi écrit des musiques de film. Son premier album ne sort qu'en , alors qu'il a 37 ans déjà. Le projet devait être instrumental, mais finalement il fait appel à différents musiciens et au chanteur Aldo Tagliapietra Le Orme.

Cette fois, pour son 2nd opus, Alex Carpani a décidé d'assurer le chant lui-même, et c'est tant mieux car il est moins imprégné du progressif italien des années Sa voix est intense et vibrante. Elle séduit, et pourtant il semble se retenir. Espérons qu'il se lâche plus pour le 3e. Équipe réduite donc, mais de grande qualité!

Sur "Entering The Sanctuary", la guitare est plus agressive. Le chant suit parfois les traces d'un Greg Lake, même s'il n'en a pas la profondeur. La basse va chercher ses notes dans les graves groovantes pour "Knights And Clergymen". L'ambiance est tantôt sombre et mystérieuse, tantôt très expressive. La section rythmique est cependant tranchante et les breaks sont nombreux. L'ombre de Genesis est toujours présente sur "Moonlight Through The Ruins" avec une envolée grandiose et un passage torturé.

Le début classique de "Leaving The Sanctuary" cède vite la place à des ambiances changeantes et une tension qui grimpe au fil du temps. Ce deuxième opus d'Alex Carpani séduit. La production est bien meilleure, le mixage aussi. Le chant est plus personnel et Carpani a une très belle voix qu'il devrait développer. Enfin, il nous présente ici un ensemble plus cohérent, peut-être aussi parce qu'il a enregistré le tout avec une équipe réduite. À découvrir si vous aimez le progressif des seventies.

Das lag wohl besonders auch daran, dass sich der italienische Musiker jede Menge Mitstreiter in sein Boot geholt hatte, die entlang der Wasserlinie die Maschinen unter Volldampf setzten. Jeder Ton vermochte zu überzeugen. Doch bereits beim Studieren der Promo-Infos regt sich in mir Skepsis. Neue Band — neues Konzept: Hinzu kommt noch, dass die Texte mal wieder so etwa jedes versponnene Prog-Klischee befriedigen und geistig-religiös vor sich hinonanieren.

Rundum ein progressives Klischee-Album mit völlig belanglosem Gesang, dafür aber sehr gut und fett in Finnland produziert.

Ovviamente sono curioso nel volere oggi riascoltare questo artista, il quale deve dimostrare di mantenere quello che ha promesso. Il disco è suddiviso in dieci tracce ma intersecate come in una unica lunga suite, come il genere stesso spesso consiglia..

Carpani oggi è una realtà. He has composed, arranged, orchestrated and produced the album; he takes care of the keyboards as well as lead and background vocals, so it is quite natural that his fingerprints are all over the album.

This is his project, and the epic suite he has created is so keyboard frontloaded that the rest of the instruments do only play second fiddle in the band. He has created a soothing sound journey that takes us back to the dinosaurs; the 70s big prog bands like ELP and Yes do rear their ugly heads, and I am sure Keith Emerson and Rick Wakeman has had a big influence on him. The last kick is however missing, but still a very solid effort and one worth giving a try if you like keyboard-driven symphonic prog rock.

Alex Carpani steht ganz in der italienischen Progressive Rock Tradition, seine Themen sind lebensfroh und forsch, weniger kopflastig als eher ein Stück machohaft in der stolzen Handschrift und in aller sensiblen Lyrik von starker Gefühlswallung.

Alex Carpani legt keinen Wert darauf, tagesaktuell zu klingen, was den Songs nur gut tut. So wird nichts vermischt, was der Zuhörer und geneigte Fan nicht vermischt haben will.

Trotz aller Reminiszenzen ist das Album originell und eigenständig, wird keine Band, kein Vorbild kopiert, ist Alex Carpanis Handschrift stets deutlich und kraftvoll. One of the best RPI symphonic prog albums, ever.

The album tells a long story in 10 tracks, linked to become a whole suite. The Dance of the Sacred Elve is a great Progressive mix between the old and the new progressive genre.

Claviers en tous genres, guitares Génesissiennes, ambiances orchestrales, "The Sanctuary" tient toutes les promesses engagées avec "Waterline" il y a 3 ans. No no, all the songs are freshly penned but they do find their origin in times long gone by. Alex has no problem with letting us know, that in former times everything was better.

It might help if I told you that Alex Carpani is a keyboard player by trade. And this leads seamlessly to the Tony Bankses en Keith Emersons of the progworld, heroes-wise. See, this information makes it easy to create a frame of reference. The fore mentioned men Banks and Emerson are becoming a little rusty in the paws so there is no harm in musing about the future. Carpani keeps all his options open so he can function as cultural heir to whoever succumbs first.

I, as a fan of that group, do not really mind that likeness, but with that it has to be said that remakes are rarely as good as the original and that the book is almost always better, too.

And looking at the other eminence grise we can safely conclude that Carpani can easily take over, should Banks end up in a box, six feet under. And again, the likeness is eerie. Oh, apart from the vocals, that is. But hey, you as a lover of the genre or as an old hippie, if you will are likely to come to good terms with this album. The blueprints are so much high-profile, though, that copying is almost pointless.

It happened to me too. Il viaggio tra maestose mura si fa sempre più emozionante via via che la curiosità viene stimolata dalle mille note prodotte. Tutto perfetto, ma cosa manca? Si le chant sur son précédent album laissait à désirer, l'écueil est ici très simplement contourné puisqu'il assume désormais lui-même la totalité des parties vocales.

Avec à ses côtés le batteur Gigi Cavalli Cocchide Mangalla Vallis , le guitariste Ettore Salati qui officia un temps avec The Watch et Fabiano Spiga à la basse, l'ensemble tient la route tout en bénéficiant d'une production très honorable. Un petit anachronisme réussi, qui saura trouver son public et qu'il est sympathique de soutenir. Alex est né en Suisse d'un père italien et d'une mère française. Il a commencé à étudier la musique à l'âge de six ans précoce le bougre pour ensuite passer par l'université musicologique de Bologne et la réputée C.

T, l'une des plus fameuses écoles de musique en Italie. Il s'est spécialisé dans la musique de films et a reçu de nombreuses récompenses dans le monde entier. Il arrive dans notre petit monde du rock progressif avec un très solide bagage musical après avoir formé un duo au début des années quatre vingt dix appelé GEMINI, également après avoir travaillé avec entre autres MOGOL, l'un des plus célèbres compositeurs italiens de l'époque.

Pour "The sanctuary" il a fait relativement simple puisque l'opus présente dix titres de durée proche entre quatre et six minutes la moitié sont instrumentaux et l'autre chantée mais sans exagération. Le titre introductif "Burning Braziers" est l'un de mes préférés avec bien sur une hégémonie des claviers à tendance filmographie normal compte tenu de ce qui a été mentionné plus haut.

La patte emersonienne se retrouve dans "The Dance of Sacred Elves" instrumental à la manière filmographique encore dans sa partie centrale et un final qui crachote comme un bon vieux vinyle.

Les claviers sont banksiens comme ce n'est pas permis et les guitares hacketiennes en diable. Bon là c'est plus que de l'inspiration!!! Mia moglie scopata da un altro Cazzo il suo grande grande scopata da un Un soggetto viene scopata da sua amante Soggetto francese succhia cazzi dominata Supportato da un'amante Vengo preso dal mio amante culo Cuckold puttana presa da 2 amanti CLIP distruzione anale pour un soumis dio La padrona corregge suo allievo per sottomissione Vanessa Loli adolescente humiliee pari Maitresse Laure presa da 2 uomini mentre i suoi film Punition par Maitresse Claire Ineesa dressee par maitresse Syrial

L'obiettivo è di pubblicare un album nelcon relativo tour. Knights And Clergymen A retro keyboard sound akin to early Genesis leads off and they build it from. Entering The Sanctuary Keys once more start this off and hold it for a time. The Silk Road Per quanto riguarda Alex speriamo che possa ottenere il giusto riconoscimento anche a livello internazionale, e non rischi di passare troppo sotto banco come purtroppo accade per molti interessanti gruppi del sottobosco italiano.