LOGOS

Logos is the term for a principle of order and knowledge - at least that is what I was taught, back when I was drowning myself in mystical and incomprehensible literature about morality, deities, self and other such fickle terms. No matter what you read into or out of the term Logos, because let's face it there's been a fair amount of different meanings going as far back as Aristotle and the Sophists, -you'll probably still pick up the sonic ode to the wonderful music of the 70s. As mentioned in other reviews, Logos plays tribute to bands like Led Zeppelin, ELP, Le Orme and Gong to name but a few - and whilst I hear smidgens of said acts, it is by far the gooey and psychedelic power prog off of Porcupine Tree's Up the Downstairs that I am reminded of the most, whenever I pop this album on the stereo. Mind you - it is done without sounding like a cheap knock off. My guess is that Giorgio C. Neri hasn't heard Up the Downstairs - but just by chance seems to have edged that particular feel and sound. Like grabbing an extremity beneath the cow - luckily so getting the one that spurts milk...

Oh yes, my favourite Porcupine Tree period with loads of sticky fiery guitar leads - spiralling melodically upwards with a big trailer of pelting drums, swirling synths and the appropriate soundscapes lurking in the back like a psychedelic carpet of sound. Yet Logos sounds completely different - it bobs back and forth between several different styles of music. One minute sounding like a heavy prog salute with huge metallic riffs and big booming drum work - other times highly reminiscent of the type of early RPI folk you'd encounter on a Delirium record from the 70s. The genius thing about it all though, is just how smoothly and velvety these different sections flow into each other, because this album actually consists of 13 different tracks! Now don't worry about that, because the whole feel of the thing rather omits a certain concept album attitude, where every musical segment hints back to former melodies - or maybe just takes all of the preceding tensions within the tunes and releases them into a guitar solo that swoops overhead like a wonderful mixture of Gilmour, Hackett and Wilson all crammed into one delicious songbird. I personally love guitar that sounds like a flying sponge on fire.

Logos is nearly all instrumental - except for a couple of interspersed moments - as well as that folky track called Tuona il Cannone, where the beautiful elegance of the Italian language suddenly wafts over you like a warm breeze. This tune also holds a couple of unorthodox instruments such as dulcimer, mandolin and maybe I have completely gone fishing, but I also hear the distinctive sounds of an Irish flute - whatever that means.... You know the merry-go-round kind of flute blowing ditties that every Westerner has come to equate with Ireland.

Going back to those influences, just to weed out some misconceptions you might be sponsoring right about now. I know, I would personally be a bit wary of an album that openly admits being a tribute to the masters of old. But not to worry. You can be absolutely sure, that you're not just getting a rehashed potpourri of elderly prog dinosaurs. No, apart from the folkish Italian traces that make me think of Delirium and I guess a few scattered Le Orme moments, then Logos is all about the sonic journey. It takes you under its wing and flies you off to a world of gliding swooping textures - all relegated by powerful guitar ghosts and vibrant synthesizer emanations. It sounds together and well thought out - like a tremendous vacation to the azure blue oceans of the Italian beaches.

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