LOGOS

This 2020 album by Logos is certainly compelling, presenting a style of Italian prog informed by the greats of that scene but with a big injection of other influences. The more aggressive moments of IQ come to mind at points, and the keyboard and synths of Luca Zerman also play a prominent role.

As with their preceding album, I find that Luca's vocals don't do much for me; I wouldn't call him a bad vocalist, but I wouldn't call him a great vocalist either; his performance is just kind of there, present for the sake of including vocals on a track but not really adding an enormous amount from a musical perspective. This could have been an instrumental and I suspect nobody would have been especially put off - if you're this into prog-for-prog's-sake stuff, chances are you don't mind instrumentals.

With enough force and bombast to give the listener a concussion, the overall effect is rather heavy-handed; that may be no bad thing if you're especially keen on what Logos is offering, but if you're more on the fence (as I am) then it can make it hard to get into.

"Sadako e le mille gru di carta" is the fourth studio album by Logos, an Italian prog band from Verona whose roots date back to the nineties. It was released in 2020 on the independent Andromeda Relix label with a renewed line up featuring Luca Zerman (vocals, Hammond, synth), Fabio Gaspari (vocals, bass, guitar, mandolin), Claudio Antolini (piano, synth) and Alessandro Perbellini (drums) plus some special guests such as Elisa Montaldo (vocals - from Il Tempio delle Clessidre), Massimo Maoli (guitar), Simone Chiampan (drums) and Federico Zoccatelli (sax). It's a wonderful conceptual work inspired by the story of Sadako Sasaki, a Japanese girl who died because of the consequences of the nuclear bomb dropped on Hiroshima by the American Air Forces during World War II. As you can read in the liner notes, a Japanese legend tells that anyone who folds one thousand origami cranes will see his wishes come true. Sadako unfortunately didn't complete her task and stopped at 644... The beautiful artwork by Marica Fasoli reflects the subject matter.

The short instrumental opener "Origami in Sol-" (Origami in G-) sets the atmosphere with its strong symphonic flavour and solemn pace. It leads to the disquieting "Paesaggi d'insonnia" (Insomnia landscapes) that starts by a frenzied rhythm and a stormy atmosphere. The music and lyrics depict apocalyptic sceneries where you can see asbestos flowing into a creek and deer with amaranth fleeces, deformed lanterns in fire slowly moving in a strange bronze ballet between mad chants and litanies, there's anguish and fear all around... Then the rhythm slackens and soaring sax lines drive you through sad expectations and dark omens. As the nightmare fades away you're exhausted but lying in bed in not enough to sleep...

"Un lieto inquietarsi" (A happy way to get worried) is another long, complex track evoking troubling visions and nightmarish atmospheres. As the music goes through many changes in rhythm and mood, the hermetic lyrics evoke a pain that lies somewhere below the sounds, beyond the frontier between obsession and vice, among half crumbled skyscrapers and gloomy thoughts, collective hysteria and dull ignorance. There's people who need just a room to pray while others need a church or an altar. Then, there are those who can imagine a merry countryside and meadows in bloom behind origami paper figures and colours in the chemical warmth of desire...

"Il sarto" (The tailor) is an amazing, dreamy acoustic ballad, enriched by the charming vocals of the guest Elisa Montaldo, that conjures up with passionate sounds and extraordinary poetical force the image of a fantastic, merciful guardian. It's the image of a tailor who creates magical clothes for a little girl by weaving bits of sky and sea waves, sun rays and fabrics stolen from the fairies, stars and dreams. All in the desperate effort to keep her close and not let her go. But in the end there's nothing to do, silence falls down, tomorrow there will be someone else who will have to provide her with a new dress of musical notes...

The joyful "Zaini di elio" (Backpacks of helium), depicts in music and words the release from pain by a surreal ascension to the sky. The little girl, thanks to a backpack loaded with helium and without ballast, takes off through the smoke of burning trees and plunges into the sky over the icy top of her dreams, crossing rivers of feelings and sensations, gliding over memories and regrets, towards shining suns and soft streets. Her heart is light and she's ready to fly higher and higher, over and over...

The long epic "Sadako e le mille gru di carta" (Sadako and the one thousand origami cranes) ends the story with a message of hope and a warning. The music and words depict Sadako looking down while flying across the sky, hanging on one thousand origami paper cranes held together by strings. She can see from above stories of war and ravaged nature that have been unfolding for thousands of years on Earth. There are many people who try to express their grief over a dying little girl, her story moved them. Now she sleeps near a bomb and becomes a symbol. In heaven Sadako can listen to the sound of death rising from below and gets angry because war never stops and so famine, greediness, lust for power. How many years will it take to get rid of hatred and selfishness? One thousand origami cranes get wet and fall down from the sky while a light little girl finds her grave hugging a bomb. But a new war is raging and it's even worse than those before, hidden behind TV screens, smoothed by the fake news riding on social media. It seems far away, from our safe place we can see only a few glimpses of what's happening but we've better wondering how many more innocent victims are still in danger or suffering because of a brand new shining bomb that's going to blast...

On The CD there's still room for a Radio Edit Version of the title track and you can look for the video the band shot for it.

On the whole, a wonderful work!

"Sadako e le mille gru di carta" is the first Logos album I've listened to, and I've been very pleasantly surprised.

It is true that the group does not have a very original sound. In my opinion they are a mixture between IQ-style neo- prog, and a more classic symphonic prog in the vein of Genesis and some classical Italian prog acts like Premiata Forneria Marconi.

But their ability to create evocative melodies is absolutely intoxicating, making the album a joy to listen to from start to finish, and leaving you wanting to come back.

Too bad the quality of the voices is below the rest of the album musically! With proper singer, I might even have thought of giving it five stars. But Luca Zerman not only does not have a remarkable voice, but almost always sounds out of tune. What a pity!

In any case, four well-deserved stars, and one of the best albums of 2020!

Best Tracks: the album goes from less to more, and my favorite songs are the last three, highlighting in my opinion Zaini di elio with his enormous work on the keyboards, and the suite that gives the album its title. Pure beauty!

My Rating: ****

LOGOS released their first two studio albums in 1999 and 2001 only to disband but then return to the action in 2014 with "L'Enigma Della Vita" an album that made me an instant fan. Symphonic with Italian male vocals and very much a synth dominated record this the followup some six years later continues in that style. All the information in the liner notes is in Italian but there is a lot of stuff in there. You can actually purchase the cover art and in different colours. I like it a lot actually, the blue origami paper. And yes a concept album(although I know not what he's singing) about a Japanese girl who made a thousand origami's while sick with radiation from the atomic bomb dropped on them back in WWII. I haven't read her story yet.

I do prefer the 2014 release but that one did surprise me while I had expectations here. LOGOS are one of my favourite modern RPI bands along with LA BOCCA DELLA VERITA and INGRANAGGI DELLA VALLE although I prefer NODO GORDIANO and D.A.A.L. as far as the style of music goes. Oh we get several guests including IL TEMPIO DELLE CLESSIDRE's own Elisa Montaldo a keyboardist and singer she adds her vocals to one track. Some guest sax, guitar and drums as well all on one track each. The main band is a four piece and keyboards rule the day.

That track Elisa sings on is a duet basically and it's called "Il Sarto". A beautiful song with mellotron too. The fragile male vocals early reminded me that no one does fragile vocals like the italians. One of my favourites on here is the song that we get the guest sax on called "Paesaggi Di Insonnia". Some moving stuff on this one. The 2 minute intro track is a great warmup piece as we get some powerful instrumental music. As far as huge bass lines and nasty keyboards check out "Un Lieto Inquietarsi". Another favourite is "Zaini Di Elio" for it's power and contrasts along with tempo changes. The majestic sound after 9 1/2 minutes is a nice touch. The closer and title track is all over the place and at over 21 minutes it is epic to say the least. The sounds of children playing early on and that cool sounding percussion 13 1/2 minutes in before it turns epic then majestic and everything almost in between. A great way to end the album.

A very solid 4 stars and an album rated in the top three here for 2020 by both the overall ratings and the collaborators picks for that year.

Review #12 Here it is again! One of those albums that won't let you go after hearing it for the first time. An album, with such intensity that you can't get enough of it. We are talking about the Italian prog band "LogoS", who have created something magical on their album "Sadako e le mille gru di carta". Admittedly: This is my first contact with Italian-language prog, which is why this album brings an additional component that generally excites me. But hovering over all this is the band's talent for implementing fantastic melodies in their songs, whether sung or played. In the end, that should always be the goal, no matter what kind of music you play. But especially in prog, it's always nice to hear catchy melody lines built into complex arrangements. Luca Zerman's voice transports a lot of energy and emotion within these melodies, so it's always a pleasure to hear his vocals. But also apart from the vocals the band has a lot to offer instrumentally. Starting with the many innovative ideas to present the songs, sometimes tidy, sometimes playful and sometimes complex, "LogoS" manages to present a tremendous variety. The interplay between keyboards (what great sounds!) and drums can absolutely convince.

One of many highlights for me is the second track "Paesaggi di insonnia", which not only contains the already mentioned wonderful melody line, but is also characterized by the playing of saxophonist Federica Zoccatelli. This is immortal prog - simply beautiful.

For me, this album is a masterpiece in many ways, because it touches, inspires, surprises and never gets boring. Every prog fan should get to know this album and enjoy this music. I am absolutely thrilled.

Review Nº 432

As happened with some of my colleagues on Progarchives, I was contacted by Logos to review their last work, "Sadako E Le Mille Gru Di Carta". But, when I was contacted I was a bit busy, at the moment, preparing some other reviews planned before. So, it only now was possible for me to check and review this album. So, here they are my public apologies to the band. Though, I knew the band already through their previous studio work "L'Enigma Della Vita", which was actually one of the albums I was preparing to review. Actually, it was the object of my previous review here.

Logos was formed in 1996 only by three people in a Emerson, Lake & Palmer, Le Orme and The Nice line up base, (bass, drums and keyboards). At the time, they played mainly songs of Le Orme, Premiata Forneria Marconi and Banco Dell Mutuo Soccorso. When a guitarist came in the band, they started to compose own songs and recorded their first album "Logos" in 1999. "Logos" and their second album "Asrava" were written with the same line up. But, their last two albums "L'Enigma Della Vita" in 2014 and this one were released after a long hiatus of time. During those years Logos had seen a lot of line up changes, but a pool of different experiences worked well towards the same project and vision.

So, "Sadako E Le Mille Gru Di Carta" is the fourth studio album of Logos that was released in 2020. The line up on the album is Luca Zerman (lead vocals and keyboards), Claudio Antolini (keyboards), Fabio Gaspari (vocals, guitars, bass and mandolin) and Alessandro Perbellini (drums). The album had also the participation of Elisa Montaldo (vocals), Massimo Maoli (guitars), Federica Zoccatelli (saxophone) and Simone Chiampan (drums).

"Sadako E Le Mille Gru Di Carta" is a conceptual album based on the events lived by a Japanese child, Sadako Sasaki, who survived to the Hiroshima's nuclear attack for 10 years at the age of 2. Sadako was luckier than the thousands of people who lost their lives in those interminable moments. However, she died ten years later of leukemia. But, during her years in the hospital, Sadako accomplished a feat that raised it as a symbol of peace. She made a thousand origami cranes to could make the wish of peace in the world. She became a symbol of the innocent victims of the nuclear war.

Musically, we have six pieces with different references to the classic prog rock that had so many fortunes especially in the 70's, a decade of great experimentation and creativity. The album is a state of the art set of performances. This is rock progresivo Italiano at its best. The band was able to deliver a masterfully crafted keyboard work throughout the album supported by a solid and creative rhythm section. The keyboards provide majestic orchestrations, memorable solos and epic progressions too. The impressive, lush style recalls the great masters like Banco Dell Mutuo Soccorso, Le Orme and Genesis as well as Rick Wakeman, classical music and the symphonic rock in general. The vocals in Italian, a traditional characteristic of almost all Italian prog bands are great as well, rich in nuance, emotion and drama.

The album begins with a short instrumental piece, "Origami In SOL". It opens with keyboards in evidence providing a powerful and intense opening. It sounds is prog, wide, emphatic and catchy, a mix between the past and present. It certainly pleases the admirers. "Paesaggi Di Insonnia" is an enjoyable and unpredictable piece with many moods. It's supported by a great rhythm in the same vein of Banco Del Mutuo Soccorso expressed in its instrumental moments. These are eleven minutes of elegant, dynamic and well arranged music. "Un Lieto Inquietarsi" is a lenghty track. Logos prefer to perform in long pieces. It's a great instrumental fugue and music for the mind to follow. This is quite an evil piece of music, at least the first half. The second half has a more optimistic feel. "Il Sarto" is a beautiful ballad. It's full of emotion and sounds genuine and rich. This is a suite embellished by the voice of the guest Elisa Montaldo. It's a pastoral track, rich in the classic RPI sound of the 70's, but sounding modern. "Zaini Di Elio" is a returning to the first tracks. This isn't retro music. Logos doesn't sound like it's trying to emulate the sounds of the 70's as so many modern bands seem to do. Rather, they use those sounds as a template for modern prog music. "Sadako E Le mille Gru Di Carta" is the main piece, the real suite on the album. It concludes the album in a high way. These are almost twenty two minutes of great music with the sadness of the death with notes that bring to us the sound of the nostalgia and chills.

Conclusion: "Sadako E Le Mille Gru Di Carta" is a great sucessor of Logos previous work "L'Enigma Della Vita". This is RPI at its best. If you have in mind the classic RPI, this is what you can expect from this album. This is a conceptual album based on a very moving true story. The album is skillfully played and produced. In some passages the keyboard sounds remind me of the old Rick Wakeman, with the usual little touch of Genesis influence which is a characteristic of the RPI sound, but the story is so dark that the music must be dramatic and intense too. This is a gentle and muscular, multifaceted, imaginative and profound progressive rock album. So, it's an album very recommended to all RPI lovers.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 431

Personally, I consider the Italian progressive rock music is one of the finest around the world, mainly in its musical composition, from the quality of the musicians and their ability to use classical arrangements and work out their ideas in such a perfectionism and with the ability to fuse the emotional with the intellectual, blending many rhythm changes, with pure classical influences, progressive rock, hard rock, jazz, baroque, with the Mediterranean regional rhythms. There are many examples, especially in the 70's, but probably the best and most important of all are Banco Del Mutuo Soccorso, Premiata Forneria Marconi, Le Orme and Area. However, besides them many others could be mentioned too.

But, even in our days the best tradition of the Italian prog rock scene persists in many Italian bands. And one of the best examples that we can mention is really this band Logos. The brief history of Logos has began in 1996 with three musicians that already played for a long time, the keyboardist Luca Zerman, the bassist and guitarist Fabio Gaspari and the drummer Alessandro Perbellini. They started playing mainly Le Orme and Banco Del Mutuo Soccorso exploiting the potentialities of the three instruments formation, so typical of so many groups in the progressive rock scene in the 70's.

Logos released their eponymous debut studio album in 1999 and their second 'Asrava' in 2001. With a considerably delayed, compared to the release of the two previous albuns, Logos reappeared again in the world of the prog rock scene with their third studio work. After a long period of silence, a total of thirteen years, the band finally released their album, titled 'L'Enigma Della Vita', playing a symphonic music, in the same line and with the same energy of the best Italian classic prog rock bands. Logos may be ranked into the symphonic progressive rock style. All compositions on 'L'Enigma Della Vita' are dominated by wonderful atmospheric keyboards creating a variety of amazing arrangements. The guitars come with wonderful solos in the background, where the bass guitar follows the rhythm with the drums.

So, 'L'Enigma Della Vita' is the third studio album of Logos that was released in 2014. The line up on the album is Maoli Massimo (guitars), Luca Zerman (lead vocals, Hammond organ, Mellotron and synthesizer), Claudio Antolini (piano, keyboards and synthesizer) and Fabio Gaspari (bass and drums). The album had also the participation of Gianbattista Bodel (vocals), Simone Bistaffa (guitar), Alessandro Perbellini (drums) and Simone Chiampan (drums). 'L'Enigma Della Vita' contains eleven tracks, 76 minutes of pure emotion. It features everything we've come to love about Italian prog. All tracks have an excellent performance. I could not honestly choose a standout track. They all work well across the album. The attention to the details is really amazing and all the tracks have killer moments. The tracks work in an organic way, full of quality, mixing light and shade, moving from the pastoral to the powerful and back again.

'Antifona' is a short track that opens the album with a dramatic and powerful synthesizer work. 'Venivo Da Un Lungo Sonno' is a magical track trading deftly off one melodic line by another, successively. It highlights what was to come on the album. 'In Fuga' has a beautiful madrigal medieval melody. It manages to deliver a load of musical change ups with a distinct classical feel. 'Alla Fine Dell'Ultimo Capitolo' is a solid track with a vibrant melody and a solid style. It sounds different from the previous tracks but remains delightfull to me. 'N.A.S.' reminds me King Crimson, especially the guitar work. This is a powerful track full of energy with its variety of the instrumental sounds. 'L'Enigma Della Vita' has a very unique peculir sound. The time, mood and signature change several times without losing its continuity. 'In Principio' has a nice intro with keys, acoustic guitar and vocals. The different layers of sound creat a great synergy in the Italian 70's prog rock vibe. 'Completamente Estranei' delivers again a wide range of styles and time changes. It's a lovely track with nice synth and guitar works. 'In Quale Luogo Si Fermò Il Mio Tempo' is a beautiful and eloquent piece for solo piano, despite its shortness. 'Pioggia In Campagna' is a track with true amazing keyboard fireworks. It's representative of the band's sound, including the harmony between keyboards and guitar. 'Il Rumore Dell'Aria' is a short track with a narrated epilog and wind rustling through the trees. It ends the album in the same vein as it started.

Conclusion: 'L'Enigma Della Vita' combines the best of the classic Italian prog, Le Orme, Premiata Forneria Marconi and Banco Dell Mutuo Soccorso with the melodic sensibilities of Camel and Genesis and the creativity of King Crimson. Their music, based on the classic prog rock of the 70's, will be loved by many progheads. Most of all by those who enjoy albums made by the aforementioned bands, and who enjoy a good balance between guitar and keyboards, as well as the use of classical elements. Though keyboards feature heavily in this release, unsurprising given the line up, this is well balanced by the superb rhythm section and the hard edged, Hackett style guitar. It has everything we've come to expect from the genre and the band manages to infuse their music with many of their own unique classical influences.

Prog is my Ferrari. Jem Godfrey (Frost*)

I first encountered Logos with their previous album, "L'enigma della vita" which was a top-rated album on this web site for that year. I was slow to get into it, but after a few listens I really enjoyed it. One thing I appreciated was a more modern style of Italian prog. I felt there were newer sounds and ideas in the music that distinguished the album from classic Italian prog.

"Sadako e le mille gru di carta" is based on the story of Sadako, a girl who was a victim of the atomic bomb and dying of cancer. She thought that she could beat the cancer if she made 1,000 origami cranes. Sadly, she never reached her goal. The album opens with a big Italian prog boom that reminds me a lot of Le Orme's "Felona e Serona". There are certain chord or note combinations that just seem so indicative of Italian prog, and the first couple of tracks here are loaded with them! It fact, this album strikes me as being very different from "L'enigma della vita", so much so that I would hardly have guessed it's the same band.

The keyboards make up a big driving force in the music, another reason for the Le Orme semblance. Guitars are either used sparingly or they just don't come to the forefront very often, unless I'm getting so wrapped up in the heady keyboards that I rarely notice the guitars.

The album plays out with much texture and excitement to the music. There are subtler moments and beautiful moments, but there is a lot of action going on as well. It's very easy to just hitch a ride with the music and enjoy the scenery. There are vocals though the instrumental parts seem to be where the real show is at. Female vocals appear as well which adds a nice touch.

I see that other reviewers have offered detailed descriptions of the music and the tracks, so I will not delve in deep in my review. However, I will say that this is an album that impresses right from the first listen and it continues to produce new delights in the music with subsequent listens. I am sure I will take me a few more spins before I can become truly acquainted with this music. But there is no doubt about the creativity and talent that has gone into making this album. I'd actually give this 4 and a half stars if I could. Maybe I might even want to give it five stars later on. It is surely an album of prog lover's delight!

Logos, a band from Verona with 10 years of experience and 4 interesting albums in which each new release is better than the previous one. In this case, their latest work "Sadako e le mile gru di carta" is, in my opinion, their best album and a truly outstanding creation. It is a work very sustained in the extensive use of keyboards that create rich textures, in long instrumental developments and especially in really moving melodies, as only Italians know how to create. The album is conceived as a concept album based on "Sadako and the thousand paper cranes" that tells the story of a girl who survived the Hiroshima bomb. The development of the music really fits the story perfectly and this makes this album even more special.

[Originally published at The Progressive Aspect]

Even if I did not already have great interest in a new LogoS album, the title and artwork would have settled it for me. Without knowing Italian, it's clear enough that this is an album that references Sasaki Sadako and the one thousand origami cranes she folded before her death. It's a story I learnt at primary school, and one of very few memories I have from those school days. We learnt of the symbolism of the origami crane (orizuru), and additional symbolism when 1,000 are strung together (senbazuru). We attempted to fold 1,000 as a class. I can't remember if we did, but it was a good way of showing just what an achievement it was for Sadako, particularly when she was literally on her deathbed. I've never forgotten her story, so to hear it played out in music was an attractive prospect. My only worry was that LogoS might fall prey to attempting to integrate Japanese instruments or instrumentation into their lush RPI sound, something I'm not sure could work terribly well, and far too easily be tokenism at best, and appropriation at worst. I need not have worried.

The album begins with the short instrumental piece, Origami in SOL-, providing a powerful and intense opening. It's quite incredible, and far too short. I could definitely have done with this track carrying on a little longer. Paesaggi di Insonnia, which follows, is even more frantic ? tossing and turning as one with insomnia might. (I admit I've not attempted to find the translations of the titles, but 'Insonnia' looks enough like insomnia to me?). If it were not already obvious with Origami in SOL-, Paesaggi di Insonnia makes it clear that this album, like the one that preceded it, is beautifully produced and mixed. The sound is perfect and crystal clear. There's no muddiness, every instrument has its space. And just to add to the already wonderful mix, an additional instrument is brought into the mix, thanks to the saxophone of Federica Zoccatelli.

Paesaggi di Insonnia is a thoroughly enjoyable and unpredictable romp through many moods, with the always excellent Luca Zerman, who may well be my favourite Italian vocalist (I love his tone and expression), with Claudio Antolini on keyboards kicking up a storm (why have one keyboard player, when you can have two?), and the vibrant and strong rhythm section of Fabio Gaspari on bass (and also occasionally guitar, mandolin and vocals) and Alessandro Perbellini on drums, definitely not hiding in the background. I'm really happy Perbellini is now a member of the band (he drummed on only one track on the previous album), as his powerful presence on this album provides much enjoyment.

Indeed, if anything, the rhythm section are right out in front for the following Un Lieto Inquietarsi. This comes across as quite an evil piece of music. It may not be intended to be, but it just sounds mean and nasty to me. Well, for the first half, at least. After a remarkably serene mid-section, the second half of the song has a far more optimistic air. But even more serene is Il Sarto, which is a quite beautiful ballad. The sort I would probably hate if it were sung in English, but which Italian vocals just seem perfect for ? full of emotion and expression that sounds genuine and rich, rather than corny and cheesy. Another guest, Elisa Montaldo, sings on this track and she really adds to the magic. It's a pastoral gem, rich in the classic RPI sound of the '70s, yet still sounding completely modern. This is what LogoS do so well, time and time again.

Zaini di Elio is a rousing return to the more manic music of the first few tracks, with some wonderfully choppy and changing passages, and an absolute star turn from Perbellini on the drums. Definitely my favourite drumming on the album. Most RPI bands at one point or another get compared to ELP. I guess it's because I've never really liked ELP, but I've never heard that. In fact, I'm more likely to be reminded of Genesis, and this song is one where I could make that comparison. As for the keys, these are as often reminiscent of Wakeman as they are of Emerson, but the swirling and twirling of the two keyboard players is distinctly their own. Any of these comparisons do a disservice, too, for they give an impression that this music might sound (out)dated and stale. This is not retro music. It doesn't sound like it's trying to emulate the sounds of the '70s as so many modern bands seem to be doing. Rather, it's using those sounds as a template for a modern album, in the same way Quel Che Disse Il Tuono did earlier this year. These two bands have not just released the best RPI albums of the year, but of the last few years ? taking sounds of RPI somewhere new, rather than merely reflecting on the past.

The band save the best for last, with the title track. Sasaki Sadako was two years old when the bomb fell on Hiroshima. The effects of the radiation were not immediately apparent. She was hospitalised in February 1955, and started folding paper planes, hoping that she might achieve her wish to get well. By August Sadako had completed her senbazuru and, not getting any better, began folding more. By the time she died in October of that year (aged twelve), she had folded approximately 1,300 to 1,400 orizuru (the exact number is unknown). A novel based on her life changed the story to suggest she did not complete a senbazuru, so her friends and family kept folding for her, so that she might have 1,000. It might make a nice story, but somehow knowing that she folded them all herself, and kept going, is more impressive to me. And impressive is what this approximately 20 minute song is. A fitting end to a wonderful album. Anyone who loved the previous LogoS album, 2014's L'Enigma della Vita, and was worried that the band might struggle to follow it up with something as good need not worry. Anyone who doesn't yet know the band is simply in for a treat.