L' ENIGMA DELLA VITA

A wonderful welcome back!

LogoS has been around for nearly 20 years, having released two interesting self-produced albums around 2000. They have returned in full force now in 2014, releasing a new album, "L'Enigma della Vita." The only remaining founding member is Luca Zerman, and over the intervening years he has assembled a band that have been playing live and composing together for a while, honing and shaping their pieces. Finally the end result is in, and it's a phenomenal accomplishment! As good as the first two are, they suffered somewhat from musical production and mature composition. This new album is head and shoulders above their first two albums, and the production is superb.

"L'Enigma della Vita" is on the spacey side of Rock Progressivo Italiano, creating lush atmospheres with two keyboardists (à la Banco) and a driving rhythm section. (A reference point might be Wish You Were Here era Pink Floyd seen through an RPI lens.) Soaring delicate guitars predominate as well, although they are often used to propel the pieces forward instead of the keys. Keys are generally present in the form of strings, organ, piano, mellotron, and solo synth leads, always tasteful and rich sounding. Vocals are sparse on the album, and when they appear they fit well in the context of the music.

The album gets better with each listen, and my favorite tracks are constantly changing. Current favorites include "In Fuga," with its stuttering melody lines and pulsating rhythm section. The soaring keys and guitars alternate solos, both playing over rhythm guitar and keyboard background. I especially love the little RPI piano riff.

Another is "In Principio." The beginning acoustic guitar over some gentle cascading keys gently escort the voice, as they continue their interplay. Then come the flutes, which marks the beginning of an excellent departure--the Hackett-like interlacing guitar and keyboard lines entertain for a bit, then give way to a driving rhythm with a nice electric piano solo, but still continuing their subtle contribution to the whole. A marvelous passage!

Near the end of the album we are treated to "Pioggia in Campagna," which is remarkable for opening with a military type march, possibly a reference to the campagna in the title. About a third of the way into the piece, we get a slightly angular RPI piano riff, over which there is some killer dirty Hammond soloing. Just great stuff!

I am thrilled that LogoS have been able to finally complete this album, many years in the making. It's been a long journey for them, and we've been waiting for a long time. But it's finally here, and I encourage you to grab a copy. Visit the band's website, which has (or shortly will have) links to the multiple vendors around the globe that will stock this wonderful gem, which is distributed by Andromeda Relix.

Five stars! (Gnosis 14/15)

2013 was a banner year for all things Italian prog related, an astounding mix of winning comeback works from established bands and dazzling works from newcomers filled with so much exciting potential and promise. It was already looking like 2014 would potentially measure up to the same quality, and then an album like this first disc in 14 years from RPI band Logos shows up to make you think that this year may be even better! Play the first few tracks of `L'Enigma della Vita', and lovers of all things Le Orme and the romantic, symphonic side of Italian prog will think they're in heaven. But large doses of Eloy/Sensation's Fix-like space-prog, sombre influences from the gloomy Swedish bands like Paatos and Anekdoten, classical grandiosity and subtle gothic flavours soon emerge to take you by surprise. There's so many beautiful contrasting moments of light and dark, bridging old vintage styles with modern influences effortlessly. A mix of lengthy instrumental passages with stirring vocal sections, with so much time and careful attention having gone into every detail of the album, there's over 77 minutes of some of the finest music modern progressive rock has to offer right here.

After a fragile flowing space-music opening over synths and delayed droning electric guitar, drums and pumping bass gradually fade in through the clouds, all rapidly turning triumphant over the faintest of Mellotron choirs. Band leader Luca Zerman 's charismatic voice, full of dignified warmth, croons alongside some very tasteful slow-burning electric guitar soloing in the manner of Pink Floyd (instantly `Wish You Were Here' and even the clarity of `The Division Bell'-era came to mind). Twinkling electronics, washes of synth oceans and snappy drum-fills open punchy rocker `In Fuga' that oddly reminds of German band Eloy, but with some added classical RPI piano sophistication, and some nice call and response back and forth interplay between the guitars and keyboards sharing an up- tempo waltzing melody. There's a surprising gothic flavour for the heavy `Alla Fine...', overloaded with thick organ. It brings a lovely regal fanfare build, plenty of lurking chiming guitar and dark synth mystery over gently grooving bass that sneaks along the background and some sinister Mellotron intensity that would make Anekdoten jealous! Then we reach `N.A.S', a deep space nightmare that sounds like an unholy cross between Italian spacerockers Sensation's Fix and U.S instrumental proggers Carpe Nota. Powerful drum fury drive an up-tempo beat, maddening repetitive slab-like bass and spitting Mellotron venom with delirious synth freakouts and strangled electric guitar nooses all weave around an impossible to resist melody. With a superb build to as exciting a climax as possible, this is without a doubt the instrumental track of the year so far, simply incredible stuff, and the album would be worth it for this track alone.

The title track jumps around in tempo with gentle grooves, shimmering electronic programming and pleading vocals, but it's almost a mere diversion to what is to come next. `In Principio' opens with beautiful melancholic classical acoustic guitar that reminds of both classic era Genesis and the more recent Opeth albums, with some dark jazzy hypnotic electric piano that leads to a malevolent drum n' bass breakdown in the finale. Moody yet achingly beautiful prog doesn't come any better than this, and anyone who highly rates the classic Paatos debut `Timeloss' and bands like Landberk will worship this track. `Completamante...' is a foot-tapping organ/Moog/Mellotron spacey rest to come down on with restrained group harmonies and grooving bass that actually wouldn't have sounded out of place on the debut Unreal City album from last year. `In Quale Luogo...' is an exquisite classical piano solo that will bring you to tears. `Pioggia...' is a keyboard tour-de- force, fusing regimented drumming and classical grandness with a passionate vocal over whirring Moogs, fairy-tale Mellotron, lavish ghostly piano serenades and scratchy Hammond runs. There's a spiky danger to the electric guitar sound through this one, although the piece always remains triumphant. The album then concludes on an eerie narrated passage over doomy ambience.

Each additional listens reveals more and more jaw-dropping moments that remind you over and over why you love the Italian works so much. Sole founding member Luca Zerman clearly had a strong vision for this album, and the additional musicians now brought into the band have delivered the best results possible. To have the musical skill and confidence to successfully pull of a perfect mix of both vintage influences and modern styles is utterly inspiring, and those who want to experience everything they cherish about Italian progressive music now know one of the best bands that carries on that proud tradition. Without a doubt, the powerful `L'Enigma della Vita' is very likely the candidate for Italian album of the year so far, and a standout release for progressive rock in 2014 in general.

Five stars.

As so brilliantly expressed by my esteemed colleagues Todd and Aussie-Byrd-Brother, the Italian progressive scene has been spurting lately with fierce determination, Vesuvius and Etna exploding simultaneously with a lava flow of stunning 2013 releases and it is now clear that 2014 will be just as scorching. Recent arrivals Phoenix Again, Ego, Aurora Lunare, Nodo Gordiano and the delectable Fabio Zuffanti are simply eclipsed by this utter stunner! As both reviewers so clearly have stated, Logos' 'L'Enigma della Vita' is one for the ages, a scintillating example of modern RPI, caramelized with grandiose symphonic elements, a touch of space/psychedelia, massive hues of shadow and light, as well as all the characteristics that make RPI such a devout prog institution. Nearly 14 years in the making, the patience, the dedication and the savoir-faire are all there in vivid sound and art, with a picture perfect cover, sublime photography and general artwork. Needless to say, the crew led by maestro keyboardist Luca Zerman is tight as a screw, with second ivoryman Claudio Antolini adding that special Banco-like touch, guitarist Massimo Maoli spitting out a slew of rich riffs and glittering leads whilst the foundation of both bass and drums are held down solidly by Fabio Gaspari. The material is exemplary, highly layered and intensely emotional on a multitude of levels, a recording that will definitely stand the test of time.

The atmospheric intro 'Antifona 'briefly sets the tone, a velvet curtain of sound slowly setting the stage aglow with ambient splendor. The dream show is about to begin, please take your seats, sit back comfortably and turn off your cell phones. The segue into 'Venivo da un Lungo Sonno' kicks off sprightly, a steady propulsive beat, armed with sea-gull crying guitar flourishes, churning organ and synthesizer swells liberated by the two-man keyboard team. This 9 minute + piece has all the ingredients described above with shifting moods between pastoral and explosive, strong rhythmic interplay and a keen sense of weaving something extraordinary. Some bright Zerman vocals adorn the dazzling melody, spiced by a spirited yet simple guitar phrasing from guest Simone Bistaffa , organ and mellotron blazing in the background, all very lyrical and highly symphonic. Yes, the Floyd influence remains vivid by structure, yet the axe solo is more personal in its conclusion.

The reverberating electric piano joins in with the mighty mellotron on 'In Fuga', as the frolicking organ and sizzling synths join the fray, in a baroque/medieval twist that vaults into a space groove (a la Eloy) , brief vocal in full expansion. The playing is resourceful, elegant and refined, all four so very perceptibly in synch, a delightful piece of RPI magic, delicately coated with that distinctive finesse we all adore.

The mood veers towards the stark and mordacious with the sombre 'Alla Fine dell'ultimo Capitolo', led by a burping bass from Gaspari and classic interval thumping from guest drummer Alessandro Perbellini , choppy guitars give a weighty atmosphere to the arrangement but most of all, a series of turn-on-a-dime instrumental wizardry on all solo instruments, painted with colored dissonance and a nasty attitude. A tortured synth solo remindful of a mini-tornado kills the deal, half way through. The voice only adds to the bass- grooved menace, my kind of adventurous mind music, as the thriving mellotron adds her voice to the finale. Wow!

As if to confirm and stamp the impression even further, the frenzied 'N.A.S.' shoots straight for the 'ballistic missile in space' style, a chop-fest for sure, so studiously correlated by Aussie-Byrd-Brother as an intermingling of slashing Carpe Nota power jamming and Italian psych masters Sensation's Fix penchant for interstellar sonic overdrive. I am in lust with such instrumental discourse, a fond mix of bizarre and comfortable, an audacious expression of cosmic guitars and enlightened synths, all ICBM-ed by a rabid and binary bass/drum propulsion unit. I stand and applaud!

The title track shifts into a more modern electro-prog hip beat, a concrete groove is laid down on which shimmering slivers of keys and shrivelling guitars are evenly spread out like some prog shag carpeting, the drums' studding nails keeping things tight as a drum. The mid-section recalls the course again, giving Maoli the road adherence he requires to speed his Ferrari-guitar over the macadam. Bombastic synths supply a monumental and grandiose apotheosis to it all. Vroom-vroom!

A highlight track without a doubt, the pic 11 minute 'In Principio' begins with flourishing piano motifs, a mournful classical guitar foundation and an impassioned voice, pleading for some understanding. Simple drums (Simone Chiampan) keep it all graceful and nebulous, a fragile adventure with a transcendent main melody that flutters into infinity , when suddenly it gets kicked into maximum acceleration with some trendy rhythm guitar shavings, aided and abetted by jazzy electric piano rumblings and crowned with a wicked 'search and destroy' guitar solo. Madonna mia! Or OMG as the most current phone app claims! Gurgling synths returns the thrill into more Floydian expanses, gently charting the final voyage.

Crystalline synthesizer introduces 'Completamente Estranei' allied with a booming bass, colossal drums and a wall of howling mellotron washes, constructing a delightful main chorus that is enriched by a zooming guitar riff. The theme seems familiar only because it is based on classic prog tendencies that have stood the test of time, Zerman adding another brief vocal that fits well with the mood. Parping synthesizers wave the flag.

Being a total sentimental fool for any piece that showcases piano, 'In Quale Luogo si Fermo'il Mio Tempo' qualifies as a melancholic addition to any compilation, a short and lovely etude that would make even Liszt or Chopin proud, elegant and celestial. Achingly dazzling.

Another clear highlight track is the cinematographic 'Pioggia in Campagna', an archetypical symphonic blowout that will combine sorcery and technique, a microcosmic universe of all those elements that make us such devoted fans. Dual keyboard assaults by both Antolini and Zerman, fueled by dynamic rhythmic foundations and some exquisite playing by guitarist Maoli are all massaged into one brilliant piece of work. Tons of details are immersed into the canvas, in respect to the Monet-like art that adorns the track lyrics, a classic RPI epic.

'Il Rumore dell'aria' proudly lowers the velvet drape on another magnificent performance, a truly world class release of the very highest standing. Sonics, raindrops, echoed narration, buona sera e grazie.

This is a massive opus, a thrilling classic and destined to place itself on the RPI mantel, alongside the other great role models from the land of the Azzuri. Italy rules again, proggers!

5 Life puzzles

Unexpected Surprise

A few days ago I received a PM from the guys of LOGOS asking me to review a digital copy of the album, to be honest, I had never heard of the band and had no desire to listen it. But thanked the guys and downloaded the album they sent me (L'enigma della Vita ) and left it in the computer because I was too busy. A couple days ago read the reviews and all were really positive, so decided to give LOGOS a chance, a decision I don't regret, the album is simply BRILLIANT from start to end.

The album is opened by Antifona, which is some sort of short hypnotic overture that allows us to have a slight idea about the record, even when it's not remotely as good as the rest of the album.

Venivo da un lungo sonno (Returning from a Long Dream), is simply captivating sobng somehow reminiscent of GENESIS due to the massive use of Mellotron, but with a very delicate guitar work with hints of David Gilmour by Massimo Maoli and the guest guitarist Simone Bistaffa. But what impressed me more is the extremely precise rhythm section with Fabio Gaspari in the drums and bass. The vocals by Luca Zerman (who is also one of the two keyboardists along with Claudio Antolini) are very good and relaxing. The whole song is well elaborate with dramatic moments that are simply delightful.

In Fuga (In fugue) starts with a synthesized flute and violin intro that abruptly explodes in a burst of energy and power and leads to a very elaborate vocal passage, it's surprising to find that before the third minute I have counted at least 7 radical changes with lush keyboard sections that remind me a bit of Wakeman's Softsword but with that unique melodic flavor that only Italians can add and a Psychedelic edge provided by the organ and guitar. Again they hit the nail right in the head.

Alla Fine dell'ultimo Capitolo (At the End of the Last Chapter) caught me by surprise, being that seems as taken from another album, the style is fluid but vibrant, instead of dramatic changes they go for a solid melody with excellent performances including the one by the guest drummer Alessandro Perbellini, but specially the impressive guitar work of Massimo Maoli who really puts the instrument in flames. Excellent song.

When I expected that nothing more could surprise me, is the turn for N.a.s., and we are removed from melodic and Symphonic territory to some sort of spacey "Crimsonian" nightmare, and even when I'm not a fan of this style, loved the track from the first to the last note.

In L'enigma della Vita (The enigma of life), the band continues with the vibrant and aggressive atmosphere, psychedelic explosions and softer passages all mixed with unusual skills, a great song that is complemented perfectly by with the melodic and melancholic In principio (from the start), two tracks that must be heard together.

Completamente estranei (Completely Foreign) is a hard to unscramble puzzle, this guys are able to combine completely different and contradictory styles and make them sound as if they were created to be played together, here I can find hints of Hard Rock, WAKEMAN oriented keyboard and some early ALAN PARSON'S PROJECT (I Robot) with a touch of PINK FLOYD and GENESIS, all blended with care and good taste?Well, maybe it's not a combinations of different band styles but unique sound of LOGOS?.Well as I said before, it's a puzzle and the fun is in trying to decipher it.

In Quale Luogo si Fermò il mio Mempo (In which place did my Time stopped) works as a heartbreaking piano introduction for Pioggia in campagna (Rain in the countryside),the first song in which LOGOS really sound as an Italian band with BANCO and PFM influences, a perfect song that I won't even try to describe, because words can only ruin an almost perfect musical experience.

The album is closed by Il Rumore dell'Aria (Rumor of the Aria), a narrated epilog that closes the album as oneiric as it started with Antifona.

I hate to rate an album, because a number can't really define how good is a musical work, but rules are rules, so I would go with 5 solid stars for a flawless release.

Now I am back to write about an Italian modern prog rock band. They contacted me some weeks ago and I was very honoured when they wanted me to hear and review their record. The band's name is "Logos" and they seem to have been around for a while. They come from Verona and started their band 1996 and made two albums in the beginning of their carreer: "Logos"(1999) and "Ásrava"(2001). Their third studio album came now this year 2014 and the cover picture is powerful and should look especially progressive on a vinyl cover.

"L'Enigma della Vita" from 2014 feautures Fabio Gaspari(guitars, bass and vocals), Luca Zerman(keyboards, Hammond, lead vocals), Claudio Antolini(piano, keyboards) and Alessandro Perbelini(drums). The record has a lot of music in different styles and the music could from place to place be compared with other great bands without losing their the unique feeling the band has.

The best is to listen to everything in a row, the pieces follow each other. "Antifona" is a calm introduction(7/10) which leeds into "Venivo da un lungo sonno" where you both could here sililarities with Pink Floyd and Genesis. The main melodical theme is a Genesisesque lovely creation and later comes Pink Floyd guitar and calm fine song(9/10). Then comes the third song "In fuga" which I like even more: it is fast and vivid and has a strong heavy symphonic melody(10/10). "Alle fine dell'ultimo capitolo" contains a lot of great epic stuff which is pleasant to hear(8/10) and "N.a.a" do I like even more: it starts undure and experimenting and evolves to a heavy symphonic tune(10/10). "L'Enigma della vita" is also a fantastic song, also the albums title track(9/10) and the playful "In principio" is not bad at all(7/10). "The rocky "Completamente estranei"(7/10) and "In quale lugo si fermoò il mio tempo"(7/10) where we hear wonderful piano come then and "Pioggia in campagna" concludes the album in a beautiful way wher we also hear the splendor of the voice(9/10). The closer "Il rumoro dell'aria" doesn't appeal to me in the same way(5/10).

I do like what I heard on this record, those times I listened to it and the musical world the band has painted is lovely to be in, and now I am sure I would return to "Logos" and also their earlier works of course. This record has a lot of those ingredients that a record need and I am very content in giving it a high rating. Four strong stars and a record I definitely think you should try!

Despite having formed in 1996 and releasing their first album in 1999, L'Enigma Della Vita is only the third album from Italian's Logos (their second came out in 2001). This may explain why, in spite of my love of Italian prog, they passed me by and hadn't heard them until recently. Better late than never though and on the strength of this album I'm really glad to have discovered them at last.

L'Enigma Della Vita is a highly accomplished piece of work - great musicianship for starters. Clearly a band who have spent years learning and perfecting their craft. The loss of guitarist Massimo Maoli and replacing him with second keyboard player Claudio Antolini alongside band leader/keyboards/vocalist Luca Zerman gives the band a lush symphonic sound. It is too simple to define Logos as a symphonic prog band however. Despite their RPI credentials Logos are on the modern edge of the genre and atmospheric psych touches sit alongside neo (I was even reminded of IQ here and there) too and with an up to date production placing it firmly in the current century.

Before you think that Logos may be sitting on the lighter side of RPI though, at this point I want to mention the powerful and inventive guitar work of Fabio Gaspari. Previously he'd been responsible for bass (which he still doubles up on) and acoustic guitar. His electric work while always tasteful adds a powerful edge in contrast to the many haunting and melodic passages. Drummer Alessandro Perbelini's unfussy style is spot on, aiding Gaspari in laying the foundations with a solid rhythm section though not lacking subtlety when required.

The eleven compositions are inventive, taking surprising turns here and there as they expertly weave new and old prog elements but one thing that ties it all together and raises the bar is the bands ear for strong melodies, something that sets it well above some of the disappointing (mentioning no names) new prog I've come across recently.

L'Enigma Della Vita should go down well with anyone looking for a modern equivalent of Le Orme played with more balls and is the best RPI album I've heard in quite a while. Certainly the best this year and I'd rate it highly against any prog album in any sub-genre I've heard this year also. Highly recommended.

First class symphonic prog rock from Italy. I was asked to provide a review for this CD and I was quite pleased with what I heard. I really didn´t know about them and it seems that their first two albums they had at the beginning of the new millennium saw just limited release for I had not heard of any in all my years around here at the PA site. Anyway, L´enigma Della Vita was a very strong work from a very good band. Clearly they are rooted in the tradition of those 70´s giants from and out of Italy. And still they have enough modern influences in their music to not confound them with another retro band.

As one has to expect, their musicianship is superb and the the state of art production also helps their surprisingly strong songwriting skills. There is over 75 minutes of music, but none of the tracks is of lower quality than the other. In fact, my only gripe with this CD is the fact that they did not exactly mixed their several musical tendencies into a coherent whole. You know, a case of being too versatile for their own good maybe. You can hear just about everything here: from melodic neo prog traits complete with Gilmour-like solos of Venivo da un lungo sonno to a more avant guard instrumental loaded with frippertonic guitar (N.a.s.). From the classical piano solo of Pioggia in campagna to the acoustic pastoral intro of Il rumore dell'aria. And so it goes. After repeated spins I still get the feeling is that I´m listening to several good bands playing on the same CD. However, this same feeling practically disappears on the vocal parts, where Luca Zerman´s voice gives the group a more distinctive sound. Every time he opens his mouth we are given the impression of hearing something unique. Familiar, ok, but still unique..

Don´t get me wrong: L´enigma Della Vita is an excellent CD done by an excellent band. But it is also clear they can go much further when they will balance all their influences into a more personal style. With their brilliant technique, tasteful arrangements and songwriting capabilities I´m sure it´s be only a matter of time before they will have their very own, trademark signature. I´m looking forward to hear their next release.

Rating: four strong stars. If you like Italian prog rock, this is a must have. If you love modern symphonic prog rock, you should at least give this CD a chance.

LOGOS were formed back in 1996 and subsequently released two studio albums in 1999 and 2001. Both have ratings that are average at best but something happened over the last 13 years as they have released an absolute stunner in 2014. All four guys from the previous album are back although the drummer is listed as a guest playing on the fourth track only. Fabio the bass player on the previous album still plays bass but is the main drummer now. The new guy is Claudio and he's the second keyboardist adding piano and synths to Luca's organ, mellotron and synths. Luca is also the vocalist and he really reminds me of Bryan Ferry at times. Anyway this is a keyboard driven album that has incredible depth to it. It's one of those albums that i've played a ton yet I feel i'm still getting to know it.

Things get started with "Antifona" a short instrumental full of atmosphere which is dark and spacey. "Venivo Da Un Lungo Sonno" continues with the same theme but drums and bass are added and the mood becomes more upbeat and brighter. A Symphonic beauty. It settles some before 4 minutes and the vocals join in. Simply gorgeous with those Ferry-like vocals. Relaxed guitar comes in around 5 1/2 minutes then it becomes more passionate. Excellent! "In Fuga" is an instrumental with lots of synths and keyboards. An uplifting Symphonic piece. "Alla Fine Dell'ultimo Capitolo" has a steady beat with intricate guitar as the vocals join in around 2 minutes. Some powerful guitar 3 minutes in then pulsating organ runs as the guitar plays over top. Synths to the fore 5 minutes in and vocals follow. It becomes repetitive late and I love it with those spacey synths. Mellotron follows then the vocals return once again. "N.A.S." has such a great sound to it around 1 1/2 minutes in as it becomes more powerful with synths playing over top. Then it's the guitar that becomes prominant until the synths return late.

"L'enigma Della Vita" has a nice beat to it with spacey keys. Vocals a minute in. I like when the tempo picks up before 4 minutes. A powerful tune. "In Principio" has a beautiful intro as reserved vocals join in before a minute. Awesome sound after 3 minutes, so much atmosphere. Vocals return later then check it out before 6 1/2 minutes as a more urgent rhythm kicks in. The guitar before 8 minutes is fantastic. "Completamente Estranei" has spacey synths and a beat to start. Vocals after 3 minutes then back to the instrumental work the rest of the way. "In Quale Luogo Si Fermo'il Mio Tempo" is a short piece with piano only. "Ploggia In Campagna" opens with the sounds of synths and drums as it builds. Vocals before 2 minutes as it calms right down. A nice instrumental section comes in at 3 minutes including mellotron and intricate guitar. It picks up before 4 minutes. Great sound! Love the organ here. Vocals 7 minutes in with a powerful soundscape. It settles back a minute later with organ then builds. "Il Rumore Dell'aria" is the haunting closer with the sounds of water dripping, an eerie atmosphere and spoken words.

A must for RPI fans, no doubt about that. This is adventerous Symphonic music with lots of depth.

Italian prog rockers LogoS have come up with a polished, well-produced album of mature prog compositions. The Lamb Lies Down on Broadway/Trick of The Tail-era GENESIS sounds and loud and clear engineering make this, to my ears, more akin to the Neo-Prog vein than RPI. The drums, keys, recording techniques and song structures feel so much like GENESIS 1975.

1. "Antifona" (2:03) (9/10) sets the mood for the album with dark, ominous synths and incidentals before a volume pedal-controlled guitar lays down some nice play. The song then bleeds into song

#2. "Venivo da un lung sonno" (9:09). The addition of bass and drum rhythm section to the opening song's mood gives this a sound and feel like the foundation of "The Grand Parade of Lifeless Packaging" only with the sometimes lead guitar of David Gilmour. At 3:30 the song goes through a nice little shift with arpeggiated electric guitar notes. At 4:15 the entrance of the vocals of Luca Zerman brings to mind the voices of Ira Davies of ICEHOUSE, BRIAN FERRY, and even a little of THE DOORS' Jim Morrison. At 5:30 it returns to its original instrumental format. It is a very nice, steady and engaging, mostly instrumental song. Nice guitar play and band support throughout. (9/10)

3. "In fuga" (5:41) is a pleasant if straightforward and repetitive instrumental with keys and guitars trading solos throughout. (7/10)

4. "Alla fine dell'ultimo capitol" (9:20) fades in just like a classic Lamb Lies Down on Broadway song--heavy in mellotron and volume controlled guitar. Once the intro has passed and the song enters into its lyric-supporting section it loses a bit of its edge and becomes somewhat "by the numbers" prog. The organ and guitar spurt beginning at 3:28 are "Watcher in The Skies" like for a second before devolving into support for a fairly straightforward blues way- pedal guitar solo. The rather slow straight-time base shifts but continues in a kind of plodding way until 6:32 when a slight shift allows the bass walking and guitar picking to weave and shine a bit. Nothing very compacted or exciting, though, even when the mellotron moves to the front and does a kind of ANEKDOTEN solo. The final minute is a rather simple synth supported vocal outro. Nothing too earth-shattering here. (8/10)

5. "N.A.S." (7:45) opens with a bouncy almost disco (bass line) rhythm foundation with some 'heavy' electric guitar power chords. At 1:28 the song slows down, settling into an industrial KC Red-like rhythmic foundation while an ARP-like synth solo slides around over the top. At 3:30 two guitars--one a FRIPP-like sustained, the other a light pizzicato jazz plucked--take over the leads. The Fripp-like guitar puts together an interesting, dissonant solo that takes us up to the five minute mark. Such PHIL COLLINS-like ("Supper's Ready/Fly on a Windshield") drumming! At 7:25 the song bursts into a mellotron crescendo of sound as the ARP-synth finishes its long solo. Odd song! (8/10)

6. "L'enigma della vita" (7:24) opens a bit like PHIDEAUX's "Thank You for The Evil" with a low bass line and hard-hitting spacious drum line. The vocals throughout this song sound very much like those of GREG LAKE. A tempo change at 3:40 brings it back into GENESIS/PHIL COLLINS territory. At 6:00 the song almost becomes a disco-fied 70s RPI song--but it quickly switches back to Phideaux/Genesis territory till its end. (8/10)

7. "In principio" (11:27) begins like a classic acoustic GENESIS/RENAISSANCE song with fast paced electronic keyboard arpeggios which then give way to 12-string guitar and synths supporting a male vocal. This vocal is strong--in the truest Italian sense. Nice bass line and steady drum line enter around 2:45 and 3:18, respectively. The shift at 3:45 to jazzy electronic piano keyboard is at first a bit odd but it works! At 8:00 we finally get the start of some action: electric guitar solo (à la TD's "Coldwater Canyon" by Edgar Froese) and interesting drum play. My favorite song on the album. (9/10)

8. "Completamente estranei" (7:06) begins almost like a slowed down version of the song "The Lamb Lies Down on Broadway" before heavier drums and guitar strums give it a kind of THE WHO/LOVERBOY power rock feel. At 2:35 a confident electric guitar defines an interesting melody. Another rather limp vocal ensues to take over for a little while until a dramatic shift occurs at 4:12. Faster, more driven, almost URIAH HEEP-like, until the ARP synth renders a nondescript melody which it then pursues over the heavy rhythm section to the songs end. (7/10)

9. "In quale luogo si fermò il mio tempo" (2:32) is a nice, almost classical, piano solo. It could almost be a composition by CHOPIN, SATIE or some Russian pianist! (9/10)

10. "Pioggia in campagna" (10:28) opens with another GENESIS-like fadein (à la "The Knife"), building beneath several layers of keyboard sounds. At 1:31 there is a key shift, then all stops at 1:46 to make way for a very latin/RPI-like vocal with acoustic Spanish guitar section. Organ and flanged electric guitar add a prog feel to the song until at 2:51 several heavy electric guitar chords present an interesting jazz guitar solo. At 3:42 everything shifts again to a more complex chord sequence and tempo to support a decent 75 second organ solo, and then a minute of echoed- and synth emulated-guitar solo. At 6:18 we get another shift into some bluesy URIAH HEEP sounds before a shift back into the vocal section, this time supported by heavier electrified instruments. A PROCUL HARUM-like organ section appears in the ninth minute. The ARP synth finishes leading the way of this anthemic song for its last 90 seconds. Definitely the band's most complex and mature composition (on this album) but I'm not quite sure what it was intended to accomplish. (8/10)

11. "Il rumore dell'aria" (2:58) presents itself as a soundtrack support to a spoken narration. It is eery and perhaps even scary in an Edgar Allan Poe kind of way. Ties into the album's opening very effectively. (9/10)

A very pleasant listening experience that suffers a bit, however, from some lackluster vocals and rather simple song structures and instrumental performances. Also, the band seems to rely more on the use of a wide variety of sounds and emotion rather than very many impressive or virtuosic soli--which is okay--Pink Floyd got away with it, right?

Without a doubt L'enigma della vita is a solid album of high quality progressive rock music. Definitely a four star record. Solid four stars.

Molto Bene!

I am always happy to discover new talents and again there is lots to chew when you dip into the Italian scene of progressive rock. The 70's gave us plenty (underline plenty) of acts that made an inprint of the concrete of art rock. Even now, the scene is alive and well with contenders that clearly ate their vegetables and did their push-ups: Logos.

Logos is a band with a certain experience as a Le Orme tribute group; and it shows. It's always good credentials when you gave attention to one of the best bands in the buisness, and Logos is clearly showing us that they're not small potatoes. They are not afraid to pack their opus with long songs that take their time to bring you where they want: the park on the cover. By the way, I immediately liked the art cover, leaving place to your imagination: what is the answer to life? Is it beyond those iron gates?

The songs will not leave you on your appetite, the keys solos are delicious (In Fuga and Completamente) and the guitar work is reminding me of a harder Hackett and sometimes Latimer. Long instrumental passages are always welcome, building up tension and showering vivid images in your mind. I love the modern approach of the title song that makes a change of pace and the simpler approach of In Principo that brought to me theatrical scenarios of foreign planets with strange fauna.

Overall, it's a well sang record with no vocal overboards. And frankly, I like it that way since the RPI genre suffered of over-the-top sentimentality. It's a good balance of old and new that will not be overshadowed by La Maschera di Cera or Il Tempio delle Clessidre.

A BIG round of applause to the band giving us listeners an obviously great album and painted us a dark and hauting canvas that is perfect for these autumn days!

LogoS are new to me, having been approached by the band to write a review of their latest album "L'enigma della vita", released in the spring of 2014. They have been creating music since 1996, and this most recent album took them 13 years to write and record. Some of the group's favorite bands are Genesis, King Crimson, Le Orme, and Banco, and it shows in their quite capable music of their own. The following is a breakdown, track by track, of L'enigma della vita, with some of my observations.

"Antifona"-This album intro is kind of spacey and dark, with a kind of foreboding vibe to it, and it grabs your attention right away.

"Venivo da un lungo sonno"-Now, when the drums and bass fully kick in, the band are playing tight, but full of feeling-the developing keys and guitar are layered in an almost architectural fashion. The vocals on this sort of remind of Latte e Miele's Marcello della Casa, a definite compliment, as he is a great vocalist! This song is great travelling music; there is great guitar and keys playing, with the guitar especially soaring to lofty heights.

"In fuga"-This starts in a laid back fashion, with keys playing full of feeling. The band all show their love for old school classic Italian progressive rock, but have a refreshing and bright take on it, as well. Both guitar and keys are given free reign to express themselves.

"All fine dell'ultimo"-This starts off a little more straightforward, and there are more vocals here, but things progress along to become more, great, "travelling music". There is some great, intricate bass work, with some nice synths in the last three minutes.

"N.a.s."-This starts with a strong beat, an almost Rush like intensity with both guitars and synths doing some inventive things-things are quite lyrical and powerfull. As the song progresses, there is some great guitar soloing, with the drummer creating quite the wall of sound, then there being some eloquent synth work-nice.

"L'enigma della vita"-There is great bass rhythm as the song progresses and unfolds-also some super vocals and beautiful synth work with some quirky time changes that are well played. At the end is a rising crescendo-perfect!

"In principio"-A lovely and beautiful intro with keys and acoustic guitar and vocals with so much feeling! This is my favorite track.It has some absolutely top notch keys work from the two players, with things evolving into a real Italian 70s prog rock vibe which is super nice. The different layers of sound creat quite a musical synergy which is quite remarkable. 8 minutes into things, the guitar really lets loose with some great drum work as well in the mix. Then things slow down, kind of atmospheric-cool!

"Completamente estranei"-A beautiful keys intro, and then bass and drums create a somewhat choppy but sustainable rhythm. Then there are some vocals in an almost Le Orme fashion. This song really travels! Lovely synth and guitar work throughout.

"In quale luogo si fermo il mio tempo"-This is a beautiful and eloquent piece for solo piano-reminiscent of Le Orme in a way.

"Pioggia in campagna"- Starting off with a rising march, there is a nice section for vocals with the rest of the band playing with their hearts open. Some great guitar and piano work throughout, spiced up with some well done organ work in between things, then ending with some great synths reminiscent of early solo Steve Hackett's band.

"Il rumore dell'aria"-A song with dripping water, and spoken word! And like the album's beginning, a kind of sinister foreboding.

I give them four stars, this album is an excellent addition!

In search of the truth' sailing through unsafe thoughts in search of the knowledge that since the beginning of times it seems to vanish once reached it. A precious album for both listeners and musicians. A must have album which offers a balanced way to express the depth concept of RPI through memorable true progressive passages and questions that accompany the man in his evolution path. This is what a 'reborn' band which has its roots in 1996 try to interpret trough its music, telling it to us through 'Logos' word comes from Greek which means to tell; from Latin it means speech intended as the original meaning of the word. After a rough existence made by many line changing in the band, dreams and goals (which had anyway brought them to the self-production of their two previous albums) the project is carried on by the tenacity of the original member Luca Zerman which has maintained alive Logos and Fabio Gasparri, joined later by Claudio Antolini and Massimo Maoli. From 2006 to 2012 their musical experience started to take shape and substance, despite two self-production actually not bad.

'L'Enigma Della Vita' so comes from the mature side of the band. It represents a passepartout for a different level of Prog. The care for musical details here is conscious and mature and the good ideas comes in succession thanks also to Claudio Antolini (piano, keyboards, synth) and Massimo Maoli (guitar) that have given new vital energy to the band identifying its RPI boundaries. The result is an album charged of a dramatic nature which wants to represent (naturally as artistic interpretation) the truth concealed, strength that push the man to find the knowledge.

The band seems to follow 'Le Orme' with which has a special connection not just musically (Logos started playing Le Orme's covers) but for a local belonging as well, actually both come from Veneto in north Italy, despite divided from less than 70 miles. Is possible to find a lot of elements belonging to RPI tradition like the texts which treat themes depth and apparently with no answer and the use of two keyboards (BMS); the first track and the last that make a frame to all the album. Maybe is possible to find a pinch of autobiography in the song 'Venivo Da Un Lungo Sonno' (Coming From A Long Sleep). It could be considered as a metaphor of the band's waiting before to give to us this album.

A lot of good Prog moments articulated through mellotron and synth, Crimsonian atmospheres and excellent piano parts characterize the entire album, giving to the listeners an experience of sound essentially intimate and passionate. Guitars and keyboards that chase each other manifesting the musician's experience. Their sound sometimes seems to be almost spacey due to some Gilmourian guitar part (as the solo in 'Venivo Da Un Lungo Sonno'); sometimes dark and gloomy. One of the best song is with no doubts 'N.A.S', the more prog you can find in an album of the genre, close to King Crimson but anyway imbued with Italian Prog tradition.

Their ability to create their own 'new' sound it's easy to recognise in the title track 'L'enigma Della Vita with very interesting prog passages. Another emblematic song for the band's sound (and the one that let me love this album!!) is 'In Principio' (In The Beginning) a short interpretation of the genesis. A spacey/dreamy intro start a beautiful acoustic guitar, but it's just the beginning because the piece changes identity and becomes a triumph of keyboards and synth remembering some Le Orme's atmosphere, here enriched by an electric guitar, to come back to the main theme of the song. Special!

'Completamente Estranei' (Completely Stranger) has some connection to 'Genesis 1977 Era', in my opinion with an eclectic aptitude due to the electric guitar that remember me Robert Fripp style. Other typical RPI element is included in the song 'In Quale Luogo Si Ferm' Il Mio Tempo (In Which Place Did My Time Stopped). A beautiful piano song which has a double role: harks back to the conclusion of the 5th song N.A.S, here in a romantic version; plays as intro for the beautiful 'Pioggia In Campagna' (Rain In The Countryside). Beautiful Prog moment worthy of note despite its shortness.

'Pioggia In Campagna' is the last 'played' song of the album, in my opinion very representative for the band's sound, which includes the harmony between keyboard and guitar. Impressive!

Ends the album 'Il Rumore Dell'aria' (The Air Noise) which as the wind rustling through the trees creates a dark suggestive atmospheres in a never known night of a man which seems asking to himself what the future has in store for him.

An album mature and still alive in RPI tradition despite many years far from the bands that created the genre. An album full of pleasant surprises at every new listening which don't want to emulate any Prog Giant but express an original sound belonging just to them and demand its place in the Prog sphere after a long period far from this goal. So nobody knows what is the enigma of life, or maybe yes' Surely today we can enjoy this renewed come back!

5 Stars ' Well done

L'enigma della vita (The enigma of Life) is the third album by Logos, an Italian prog band from Verona that was formed in 1996. It was released in 2014 on the independent label Andromeda Relix with a renewed line up featuring Luca Zerman (organ, Mellotron, synthesizer, vocals), Fabio Gaspari (drums, bass), Claudio Antolini (piano, keyboards, synthesizer) and Massimo Maoli (guitar) plus some special guests as Alessandro Perbellini (drums), Simone Bistaffa (guitar), Simone Chiampan (drums) and Gianbattista Bodei (narrative vocals). A long time has passed from their previous work Asrava, from 2001, but during all these years the band never stopped and kept on working on the new compositions, refining them, recording them without pressure nor hurry, with care, determination and love. The result is an excellent concept album conceived as a long suite about the life, nature and time passing by, a mature work where the band showcase great musicianship and personality blending vintage sounds, poetry and new ideas. Well, the beautiful artwork by Luca Zerman and all the images that you can find in the booklet perfectly fit the poetical strength of the lyrics and the evocative power of the music: probably they can help you to understand the concept better than all my words...

The dreamy opener "Antifona" is a short instrumental track that sets the atmosphere and fades in the following "Venivo da un lungo sonno" (I was awakening from a long sleep) where a pulsing rhythm conjures up the image of a night train running through dark shadows and ethereal, lunar landscapes. In a wagon a passenger wakes up at the noise provoked by a drought against the curtains. He emerges from a long sleep and can hear some people nearby speaking in a foreign, unknown language. It's still dark, the mysterious passenger has forgotten his destination and now he's on his way leading to nowhere, lost in the mist...

Next comes the disquieting "In fuga" (Running away) where the music and lyrics draw the image of some soldiers in the snow. They're running away from the battlefield seeking for freedom. Their life is hanging on a thin rope while around them the storm is raging... The following "Alla fine dell'ultimo capitolo" (At the end of the last chapter) is filled with tension and dark visions and depicts an empty town where a fugitive man looks for a shelter from the storm. He walks alone among ruins and crumbling walls but he can feel something in the air, the streets seem haunted by strange presences. Suddenly he sees a dim light glimmering through the dust, a pale flame of life and hope. A ghost gets close to him and tells him to keep that flame burning...

"N.A.S." is a charming instrumental track that every now and again reminds me of Le Orme and Banco del Mutuo Soccorso and makes me think of a glider taking off towards distant planets where there are rivers of lava and creatures generated by earth and electricity. It leads to the ethereal, reflective title track, "L'enigma della vita" (The enigma of life), where the music and lyrics raise questions about the origin of life: was it just the result of vibrating atoms clashing against each other at random or rather the mathematical product of a superior maker? The answer is hidden inside every man but we can't catch it, we keep on running after forces that we can't understand and we are always left in doubt, wandering in the dark and trying to learn how to overcome our ignorance, in vain...

"In principio" (In the beginning) is a long, complex track about the mystery of creation and the relativity of time. It starts softly by an acoustic guitar arpeggio, then goes through many changes in mood and rhythm taking you on a mystical trip across the universe. Stars and planets come to life and die as the men who claim to be the masters of the universe. The wisdom of a superior hand carved and shaped indescribable forms and painted the deserts with infinite colours, gave life to rivers and human beings... In the beginning there was nothing, from nothing we came and we're bound to return to nought...

"Completamente estranei" (Completely aliens) takes us back to Earth. This track starts by painting haunting notes in deep red colours and conveying a strong sense of tension... Here the music and lyrics depict a little tunnel that opens on a side-walk corner. It's the entrance to the hidden part of the city where live the homeless and the poor. The people who pass every day by that place never notice it, they can see distant stars and planets but not the unfortunate men and children in rags who live underground. For them they're nothing but transparent aliens coming from another world...

"In quale luogo si ferma il mio tempo" (Where my time stops) is a melancholic, classically inspired instrumental track for piano solo that leads to the epic "Pioggia in campagna" (Rain in the country), a complex track that depicts in a very curious way the relationship between man and nature. The lyrics draw a parallelism between a man and a feather floating in the air that the first gust of wind will sweep away. He can hear what the leaves on the trees have to tell, he can see how the nature takes his revenge on the wrecks of old cars and trucks that are collapsing in a field, covered by grass and already half-swallowed by the marshy ground... No one can save men and their work from the imperceptible fury of time! The following "Il rumore dell'aria" (The noise of air) closes the circle. It's a short track featuring narrative vocals that takes you back to the starting point, to a man emerging from a long sleep. We can't say how long he had been sleeping, maybe centuries or millennia. We don't know where he fell asleep, maybe under an oak in springtime or on the bank of a river in winter. We can't say when time stopped, all we know is that it was the noise of the air to wake him up and that perhaps he had not been sleeping more than a minute...

Rock Progressive Italiano is a subgenre of Prog that boasts some of the greatest Prog bands of all time. One need only mention the likes of Premiata Forneria Marconi, Le Orme or Banco del Mutuo Soccorso to understand how important this genre is in the Prog community. Now in the modern era along comes Logos with their album "L'enigma della vita". 13 years in the making, and the third album for Logos, it is the epitome of all that encompasses the very best of RPI. The foursome consists of Fabio Gaspari on guitars, bass, and vocals, Luca Zerman on keyboards, and lead vocals, Claudio Antolini on piano, and keys, and Alessandro Perbelini on drums. The music Logos generate is nothing short of astonishing, executed with virtuoso finesse and structured with innovation and invention. It is such a pleasure to listen to an album where each track stands alone, an album of diversity so infused with passion and power during its entire 75 minutes running time.

It opens with ambient Pink Floyd strains and atmospheric fervour on 'Antifona, lucid and flowing with an organic soundscape. As the thunder rolls across the heavens the drums pick up and it moves into 'Venivo da un Lungo Sonno', replete with violining guitar and pastoral textures of keyboard pads. The vocals are brief and Italian in the traditional sense of homegrown RPI. The sound ignites with Hammond and mellotron vibrations, and melodic soaring guitar; generating symphonic grandeur. It is a wonderful 9 minute track that highlights the awesome dexterity of Logos, and we are only at the beginning.

'In Fuga' follows, glistening over with sumptuous mellotron and the glaze of spacey organ. The tranquil atmosphere is beautiful and then it erupts into synth bliss, and pulsating guitar picking similar to Pink Floyd's 'The Happiest Days of Our Lives' style. The vocals come in prominently until an interlude of heavy guitars keeping up with a fast keyboard phrase, sounding like Gryphon's medieval trademark sound. The shimmering organ is joined by a speedy lead guitar and it is capped off by a fractured rhythm; a great track with many layers.

'Alla Fine dell'ultimo Capitolo', fades up sounding decidedly different to previous tracks, especially the guitar phrases, processed with reverberating delay and a steady cadence on percussion. The vocals are harmonised nicely in places, and I wished I knew some Italian to pick up what the song was about. The guitar switches to a dynamic distortion, and there is a Hammond waiting round the bend to add flavour. A wah wah guitar chimes over, then staccato keyboards and some high pitched notes scream out. The song switches gears and becomes ominous in the next section. Vocals join in the quivering keys, and quick bursts of percussion and bass attacks. Another 9 minute delight shredding delightfully through my speakers.

'N.A.S.' is a fast paced excursion into explorations of urgent guitars battling an incessant organ. The guitar sound is a King Crimson sound ala 'Lark's Tongues in Aspic' and the bass is ready to back them. The swirling synths are vibrant and spaced out, and it is all driven by a thunderous drum rhythm. As an instrumental the track offers a prime example of how to maintain listener interest, with diversions into time signature switches, and a variety of instrumental sounds. It is a powerful rendition that resounds with powerhouse energy and innovation throughout its 7:43 running time.

'L'enigma della vita' is the title track and these tracks usually deliver wall to wall brilliance. The sound moves into electro-beats, startling after the previous tracks. It is a more commercial sound overall with echoing vocals, and funky bass motifs. The quavering keyboards have a crystal clear sound, over a multi layered symphonic foundation. I particularly like the guitars on this at about 4 minutes in, when the 3 chord riff dominates, merging into a lead guitar break. A saccharine fresh synth breaks through and it culminates in a choral sound with majesty and flourish.

'In Principio' runs to 11 minutes, and is a tour de force of instrumentation starting with trickling piano like rain falling down, cascading over with acoustic guitar trimmings. The vocals are melancholy, and guitars howl over adding to the sense of loss. It threatens to break out, building as we hear bird calls and then the spacey keyboards squelch through with percussion embellishments. Electric 70's organ sends out little flames and the flickering candle of shuddering synths are joined by more Italian vocals. There is a break in transmission then a major change in rhythm as a synth motif trembles, making way for jazz reflections on electric piano. A succulent guitar solo adds flavour to the banquet, and crashing cymbals and drums garnish the feast. The spacey synth sounds return to farewell this awe-inspiring track.

'Completamente Estranei' has a Twilight Zone-like synth motif, before launching into raucous guitars and organ layers. The bombastic choral voices enhance the mood, until staccato blasts of broken rhythms join the main melody. Mellotron chimes under some Floydian guitar picking, and then the vocals are heard. Again, the track delivers a wide range of styles and time changes. The band are given space to unleash their talents, including a glorious lead break and dazzling synth solos.

'In Quale Luogo si Fermo'il Mio Tempo' is a piano driven piece, in the tradition of the great composers, or more recently Keith Emerson's explorations on his side of "Works". It is a brief showcase for Antolini, the calm before the storm, being the next track.

'Pioggia in Campagna' is a 10 and a half minute symphonic prog workout, that fades up with a marching beat, reminding me of ELP. It has a soft guitar solo in one section, and then breaks out with a tempo change, gaining heaviness with guitar and keyboards in synch. There is an onslaught of twin barrelled keyboards trading off, and then the phased guitar solo adds spice. Another time change welcomes in lased edged synths, and guitar tones, prior to a new verse of lyrics. This is a glorious mini epic with inventiveness and an ever changing palette of instrumentation.

'Il Rumore dell'aria' is ushered in by dripping raindrops, and an ethereal narrative voice. The atmosphere is portentous and assumedly has deep meaning. And so ends the master work of Logos. The influences of Le Orme and Banco del Mutuo Soccorso are obvious and the band in their early days used to do covers of such RPI legends. "L'enigma della vita" is an outstanding album with music that never outstays its welcome. It deserves repeat listens and certainly sparkles with invention, vitality and dynamism. Every track drips with its own energy and all are as diverse as the next and still manage to generate a powerful unity. Logos have excelled on this album in every department and the encapsulating music resonated with my senses. A masterpiece that will gain the band recognition as they have produced one of the top ten albums of 2014!

I have to confess that unlike other reviews, in which I'm used to try interpreting the messages more or less hidden in an album, this time I've been helped by a band member. Catching the meaning behind the tracks was not easy even for an Italian speaking.

The band has released only 3 albums in about 20 years of activity and this one has been planned for more than ten. It's not a surprise then, that the arrangements are almost perfect, the tracks are quite complex and the album flows seamlessly from one moment to another. The genre, if this word means anything, is classic RPI, but I can hear, or think to hear, influences other than Le Orme, Genesis and Yes.

Now the concept: the album's title means "the enigma of life", and is a sort of travel from the Genesis (the biblic one, not the band) or the birth to the end of times or death, with the eternal question about "is there anything after?"

The first impact is Floydian. The keyboards layer and the guitar of "Antifona" reminded me to the intro of the last two Pink Floyd albums (excluding the new one which I haven't listened to yet). This impression ends suddenly when bass and drums enter slightly in 5/4, with a mood that more than Genesis is set to the best Camel. "Antifona" derives from Greek and could be literally translated as "voice from the front" which was typical in Gregorian choirs. The word was used to indicate the was a Psalm is spelled.

"Venivo da un Lungo Sonno" is what made me think to Camel. Of course I'm speaking of impressions only. The guitar sounds more like Hackett than like Latimer, but it's a very good classic prog song. About 4 minutes of instrumental intro, the last of which is filled by a slow guitar harping which introduces the main theme of the song. I have read somebody thinking that Zerman's vocals are the album's weakness. I disagree. Zerman is ok. The weakness is in the lyrics metric, but this is common to the Italian Prog. Pierrot Lunaire, Maxophone, even PFM have sometimes fought against the metrics to make their lyrics fit in the music. It can happen when the meaning of what you are writing is too important. Said so, "coming from a long sleep" represents the Birth, both intended as one's birth and the birth of Life or the Creation. The lyrics are the introduction to the following song. Waking up is not only coming to life. The instrumental coda is excellently driven bu the lead guitar.

"In Fuga" (Escaping) is the song which more impressed me at the first listen. The vintage sound of the keys, the mellotron and the lyrics inspired to a book that I've read many years ago about the Italian campaign in Russia during the II World War. It's highly dramatic and the dialogue between keys and guitar in the instrumental parts is at the level of the best Caravan (I mean Winter Wine or 9 Feet Underground). Italian or not it's great progressive rock.

"Alla Fine Dell'Ultimo Capitolo" (At the end of the Last Chapter) Is of course about Death and the moments preceding the passing away. I initially thought, following the previous song, that it could have been about Stalingrad or Hiroshima (The imagine of Men's figures impressed on a brick's wall). It's darker than the previous songs, based on minor chords with recurring accents and the high pitched guitar setting the mood in background while keys, drums and bass make the bigger part of the job. The fact that some passages bring to my mind albums like Snow Goose and Nude, from one of my favorite bands, is a plus.

"N.a.s." is the longest track. It's instrumental. I won't disclose what the meaning is. Basing on what a band member has written to me ,it's better leaving the interpretation to the listener. This is also the reason why the lyrics are not very explicit. Leaving the listener the possibility of creating his own story is one of the goodies in progressive music. Musically speaking, it's another dark track, with the bass pumping obsessively, some little dissonances in the chords, but still maintaining a melody and a symphonic (prog) structure. A track like this can justify the cost of the whole album.

The title track has probably the best lyrics of the album. Ok, if you can't read Italian, just trust me. The song is very particular. I can't relate it to anything else, maybe Steve Hackett, but it has a lot of things inside. It changes theme, signature and mood several times. The passages are everything but trivial, sometimes surprising, but without losing coherence or continuity. In this sense, the fact that the metric is almost absent is in line with the continuous changes of scale.

"In Principio" (In the beginning) starts from the Genesis to speak of "Life and Death". Mellotron and an acoustic guitar in the vein of Anthony Phillips are followed by a bluesy keyboard riff. Effectively, the instrumental parts are better than the sung ones, but it's not a singer's fault. It's that the music is so good that we could easily give up to lyrics, even when poetic as in this case.

"Completamente Estranei" (Totally Extraneous) starts with a high-pitched keybord harping, let's say in Goblin's style. It's another very good instrumental moment which lasts for three minutes until the vocals start. It's just a short interlude followed by another excellent instrumental part, full of variations. The song is about racism and "mental blindness" in general.

"In Quale Luogo Si Fermo' Il Mio Tempo" (Where Did My Time Stop?) is a piano solo with a classical mood but with some rock accents. Sad and dramatic but still very prog. It's where the influence of Le Orme appears.

"Pioggia In Campagna"(Rain in the Country) can be read with two different keys, like most of the lyrics of this album. It's about the passing of time, in the sense of a lifetime that goes with good and bad moments, but also as the passing of eages. Skeleton of cars with grass growing inside give the idea of Earth after Man. The song is divided in two well distinct moments: a proper song which is one of the most melodic moments of the album and an instrumental part which reminds me back to Camel. I must clarify that I don't consider this music derivative. Mentioning Le Orme, Camel, Genesis, is just to give the reader an idea about the kind of music that he will find in this album. It doesn't mean that the band is not original. The keyboards in the last two minutes sound not too far from Rick Wakeman's Six Wives, but it's question of sounds and instruments used, not of musical notes.

But the thing that I have liked the most is the closing track which is the darkest moment of the album. Like often happens in prog, it gives circularity to th e album. The lyrics start exactly with the same words of the first track. Like saying that the end can be a new beginning. The voice fits very well in the music. It's very atmospheric, the only bad thing is that it's too short. For my tastes the band could have fit a whole album with this track, but prog is normally not easy to sell, and sincerely hope that the band can gain at least what is needed for a new album, in less than ten years this time, possibly.

Classic RPI which doesn't have anything less than Orme, Banco or PFM. A strong concept, cryptic enough to give you the possibility of building your own story on it, and most of all a great musicianship. Another important album for the Italian prog. If you like any of the artists that I've mentioned as reference, you will surely appreciate this band, too.

A big thumb up from a usually non-RPI fan.

It took LOGOS thirteen long years to create their third album L' ENIGMA DELLA VITA (The enigma of life) but it was apparently worth the wait for this is one power house of an album. The only band member to survive into the current lineup is Luca Zerman who handles the keyboards and vocal duties. The album starts out in a spaced out ambient style that makes you wonder if you've just put on a Klaus Schulze album but then after a bit the drums kick in and take us into the realms of progressive rock and has a clearly inspired feel by the space rock arena of Pink Floyd with smooth and silky guitar lines. It only takes the addition of vocals sung in Italian to instantly break the spell and make you realize that this is indeed symphonic prog very much inspired by the greats of the 70s, namely PFM, Banco and even Genesis inspired neo-prog at times. Like all great Italian prog bands, the lyrics are in their native tongue and spell out a the concept of a journey across the universe with different tracks representing being human, love, loneliness or war. The album tackles the biggest quandary of all human history that is attempting to find the meaning of life itself.

This album is a major throwback to the 70s greats and has a sound solidly rooted in that golden decade of progressive sounds. There are roaring keyboard swirls and twirls that very much remind of PFM, space bass a la Floyd, pastoral soundscapes that can bring Genesis to mind and so forth and so on but this is an album that is of the modern era as well. The production has been absolutely perfected and illuminates every single little sound to its fullest. There are clear modern influences as well. For example "In Principio" has a clear electronic space sound that reminds me of "Moon Safari" tracks by the French band Air. The guitars are crisp and clean and tasty solos abound with a slight progressive metal edge but never really getting too far in that direction. The interplay between the musicians is always on the highest professional level and each compliments the other always creating a most satisfying sum of the parts.

The beauty of L'ENIGMA is that LOGOS are masters of the subtleties. They excel in developing the most pleasant of melodies and expounding upon them. They especially know how to magically morph from one passage to another and never string anything together in an awkward way. There are no sudden and unwarranted transitions. Everything is strung beautifully and gracefully together so brilliant it shines like a crazy diamond. The diversity of the sounds, tempos, timings and arrangements never once let you drift off in this album's lengthy 76:03 time frame. That is an achievement in my book since many an album of this length usually begins lose steam halfway through. This album is a remarkable achievement of modern prog that marries the best aspects of the classics with the cutting edge technology that now exists. This is one of the best new albums i've heard in a while and I really hope we don't have to wait another thirteen years for the next release! Highly recommended. One of the best albums of 2014.

This band was originally formed in 1996 and this is their third album, although it is the first since 2001. They are listed as an RPI band but the music is more retro-symph-prog than RPI (old or new). The vocals however are more in RPI territory and don't sound like most symph bands. Although a quartet, there are two keyboard players while one member does both the guitar and bass duties. "Antifona" is a spacey and electronic oriented instrumental opener. Vaguely Floydian sounding. This leads into..."Venivo da un Lungo Sonno" which is more Genesis sounding. The vocals start almost halfway but they don't sound anything like a British band. I like the guitar solo towards the end which sounds like a cross between Gilmour and Hackett.

"In Fuga" starts with some Rhodes piano playing that you would not find on any Genesis or Floyd album. Some mellotron and synth join in just before the rest of the band does. After some vocals the keyboards and guitar alternate doing mini-solos. "Alla Fine Dell'ultimo Capitolo" fades in on a Genesis vibe. Love the chorus/delay effect on the crosspicked guitar. Really nice key/chord changes just before the guitar solo (and during it). Later a very symph prog sounding synth solo. One of the more interesting songs on the album. "N.A.S." is an instrumental. Generally more dark and harder-edged than what came before. The synth soloing is very good and melodic.

The synth and guitar sounds/tones are really good in the title track. The music gets faster and more symphonic starting in the middle. Then the tempo slows back down and the vocals return. "In Principio" is one of the highlights for me. Opening with synth arpeggios and some lovely acoustic guitar. Some vaguely spacey synths can be heard in the background while the vocals are out front. After the drumming arrives the music gets slightly busier. Over halfway comes a menacing sounding synth which, along with the almost funky guitar playing, takes the whole track to a different level. The music continues to get intense with a sympathetic guitar solo.

"Pioggia in Campagna" fades in on a very Genesis sounding note. Eventually things gets more acoustic and RPI sounding. A very symph prog sounding organ solo before the middle. Overall the music is classic symph prog but the vocals are more RPI. "Il Rumore Dell'aria" ends the album on a dark, mysterious note. The sound of water drops and some spoken word creates an atmosphere of suspense when coupled with the dramatic and 'dark' sounding synths. Nothing on here which is truly origin or groundbreaking but the album is still enjoyable and consistent. Recommended to fans of retro-prog or the more retro leaning modern RPI stuff. I will give this a 3.5 but round it up to 4 stars.

Logos was a band formed in the mid 90's and that towards end of that decade and beginning of the next one released 2 albums. After that the band went into a hiatus of 13 years without any new release.

Many changings in its line up happened since then and their third album L'enigma Della Vita (2014) was released after 6 years of recording (Between 2006 and 2012) and 2 more till the album was finally released by Andromeda Relix/Lizard Records.

I knew the band because some years ago they were giving away their 2 first albums for free in their official website and I gave a try on Ásrava (2001) by that time. It didn~t really appealed to me so I pretty much forgot about the band. Last year they contacted me about a possible review and here I am.

L'enigma Della Vita (2014) is not a bad album, I gave the CD several spins in the last months but it happen to have 3 things that just doesn't work for me in Prog music:

1 - The sound of Logos is based on the Prog made in mid 90's and all sounds - specially the keyboards - reflect that quite well.

2 - Production wise the album feels like a demo in many moments. That added to the weak vocals become a turn off for me.

3 - The album is far too long. 76 minutes of music, for me, is way too much and some moments felt as big fillers instead of the killer tracks they could come up in this big period they took to record it.

Now, for me it's pretty clear that this is an album that has plenty of moments to appeal to a wide variety of Proggers and tracks like 'Venino Da Un Lungo Sonno', 'L'enigma Della Vita' and 'Pioggia In Campagna' show that! But then again, for me, those 3 points I mentioned killed it for me!

Still is worth listening to the album!

Italian Prog Masterpiece...Long time coming!

An unseen glacier calf's an iceberg. Ginormous waves of subsonic whale songs expand as Logos announces a new born, infant wet whale of a masterpiece of Italian Prog. Ominous hypnotic percussion propels the new born album thru delicate webs of a spidery plucked guitar riffs. Pompeian vocals ride over molten bass lines. Ghostly guitar riffs reminiscent of David Gilmour satiate the vampiric hunger of a sabertoothed progasaur. Namely me. Perhaps you? Oh the memories!

L'Enigma Della Vitta spews out inumerable memorable licks, opiate keyboard passages, melodies, coupled with an understated, yet a perfect fusion of modern retro Italian prog. Progarchives voters nailed it in 2014! IQ, Opeth, and Logos! Until I breathe my last breath I will remember 2014 for those three amazing albums! IQ's " The Road of Bones", Opeth's "Pale Communion, and last but not least...LogoS's "L'Enigma Della Vitta. All three albums contain song after memorable song. And that's the most retro thing about these Albums! Everything here is memorable!

I own all the major iconic Italian prog albums from the 70's. PFM, Goblin, Banco Del Mutuo Soccorso, Le Orme, Area, and Osanna, along with the usual suspects. My husband and I have a weakness for Italian prog. Many great things have already been said by the Progachive connoisseurs and collaborators about L'Enigma Della Vitta, so I'll have very little to add except that in my feminine opinion...L'Enigma Della Vitta is the greatest Italian Prog album recorded since the mid 70's. LogoS makes me want to sip red vino from crystal cups and eat black olive bread with my man and get passionate...Profondo rosso amore!

Cons- I know it's over 70 minutes long. Too much of a good thing? Get over it prog people. If you can't handle a double album... Listen to the first half, next time listen to the second half. Or play L'Enigma Della Vitta on random. Do whatever it takes. But what ever you do, by crook, nook, or cranny get yourself a copy of this album.

My only regret? Although I know this album is a progressive rock classic, I probably won't be able to add one of the 100 limited editions of L'Enigma Della Vitta on colored vinyl... It's not that the limited edition is too expensive. It's just I would have to con my husband to splurge for a gramophone. "Record player is the layman's term for Gramophone." Ha ha...

5 shiny stars! An Essential masterpiece to any progressive rock collection.

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One day not long ago, I came to the PA homepage hungry for something new. Not like I really needed to hear anything new. I had already overshot my budget for CDs. But it was one of those moments which occur often, and I spied a review for "l'enigma della vita" by Logos which sounded like this was an album I should order. A couple of weeks later and shortly before my CD arrived, I saw that Logos had been voted third best album of 2014 by the PA collaborators. Wow!

Logos arrived along with a couple of other albums and so I first gave them a listen with a head already swimming with new sounds. I didn't catch anything other than that the lyrics were in Italian (as expected) and the music sounded pleasant enough. On the second listen through, I latched on to the "On the Run"-styled keyboard or electronica part in "in principio" and set that song aside for a potential mixed playlist (I love making mixed CDs!). After the third listen, I realized I wasn't really getting into the album, probably in part because I was listening to it on my way to work (by foot and by train) and not really paying attention, and also in part because the music wasn't really reaching me, grabbing me, and pulling my attention away from mundane thoughts such as why the truck drivers always throw their convenience store rubbish and porno mags into the ditch where crayfish and frogs live.

So the other day, I had a bit of a drive coming up, long enough to play the album through plus a little extra. Changing the listening environment to live sound rather than fed into the ears often helps me appreciate an album better. A true enough, this time I was able to formulate clear opinions about each track. In fact, I enjoyed what I heard enough that I listened to the entire album once more the next day, this time paying close attention.

Generally speaking, this album is quite evenly paced and neither aggressive nor slack. Electric guitar and synthesizer solos are in the spotlight while the vocals show up usually for a few lines or a couple of verses in between instrumentals and instrumental passages. There's a feeling of Pink Floyd at times, of Eloy or even Novalis at other times. Fabio Gaspari's vocals sound smooth and pleasant, a hint of distance lurks in their somewhere, a whisper of reaching out, but they never become impassioned or attempt to be the next big flavour.

After five full listens now plus a few songs chosen for repeat plays, I find myself enjoying parts of a few songs such as the instrumental theme after the lyrics in "in fuga", and some of the music in "completamente estranei", "pioggia in campagna" and the title track. Actually most of the songs have at least something that stands out and holds my attention. And I think "in principio" might be my favourite track, partly also because of the acoustic guitar which doesn't show up much on this album.

Most of the songs introduce some ear-catching musical theme which is built upon but soon carries on while the guitar and keyboards do their solo thing. I keep expecting something else interesting to happen but often the music continues for the lead instruments and then wraps up. The tempo doesn't vary much either, which means when the pace picks up a bit, that part stands out.

What I hear sounds very good, and for people who don't want anything too heavy, too weird, or too all-over-the- place, this is an easy album to appreciate. I'm not surprised that a few give it five stars. For my taste it's more of a 3.5 star album but the production and sound is very good so I'll round it up to four stars. Personally, I wouldn't say excellent addition but a very good addition to any prog collection.

Despite its founding in 1996, Logos have released only three albums, the first two (1999 & 2001) being more or less some half-convincing apprenticeship. But we must pay tribute to their enduring persistence, because 13 years after their sophomore album, they offer us a king's (or queen's) delight : 76 min of first-class RPI. By the usual standards of Italian bands (Unreal City, Faveravola and Nodo Gordiano being noteworthy exceptions), an album of such a length is enough to warrant anyone's attention who has kept a close tab on the Italian Prog scene. And, in this age of speedy consumerism, if you think it might be too much music for your money (!) ? then it's high time you take a step back and enjoy the album for what it is, because there's much more to "L'Enigma Della Vita" than sheer length ! The liner notes, the lyrics and the booklet (splendid artwork) being in Italian, a language than I understand but a little, though it has always been music to my ears (wherever you are nowadays Michele, Cesare, Alfredo and Sofia, I thank you and hope you fare well !), I cannot discuss the themes of the songs. I can only suggest that L'enigma della vita means "The Mystery Of Life".

F. Gaspari (drums, bass), L. Zerman (organ, mellotron, synth, vocals), C. Antolini (piano, synth, keys) and M. Massimo (guitar) are given a hand by four friends (drums, guitar and narration) on Alla Fine Dell'Ultimo Capitolo (9:21), Venivo Da Un Lungo Sonno (9:11), In Principio (11:27) and Il Rumore Dell'Aria (2:58). (By the way, when you click on the album above, the line-up that shows up there is kind of mixed up compared to the liner notes of the physical album itself.) Now, it goes without saying that, in a band where two guys handle the keys, they're bound to be center stage? and, that, they do with gusto, ingenuity, but also with some restraint. For their part, guitars are not sidelined, but they don't often play the leading role ; they have some blazing moments but most of the time they're cast in a supporting role, more or less on a par with drums and bass. As for the vocals, it's kept back in the first songs, to the point where they're almost muted or even drowned in the background music. Mid-way through the album, starting in fact with the title song (7:24), it comes on the forefront. Zerman's vocal range is somewhat limited, but he uses his voice both with conviction and restraint, without any theatrics, but not without emotion when need be. There are 11 pieces on the album, three of which are fully instrumental : Antifona (2:03), N.A.S. (7:45) and In Quale Luogo Si Fermo' Il Mio Tempo (2:33), but it remains that Logos have delivered more of an instrumental album than a collection of songs, as there's always much more space granted to music than to the vocals in the latter.

I'd list the main features of the album as follows. 1 ? Intelligent structure (pieces contrasting between one another, but also complementing one another, and, in some cases, pieces answering to one another, such as the closing piece Il Rumore Dell'Aria (2:58) looping back to the opening one, Antifona) ; the thing is that contrasts aren't so much within the pieces themselves (there are some, but most often than not they're kept under thight control, never being too sudden or edgy), but rather between them : e.g. Antifona (spacey lament, a bit creepy with a sense of some vague menace lurking in the background) vs Venivo Da Un Lungo Sonno (lushly textured song with keys swirling in crescendos, muted vocals and blazing guitar licks), Completamente Estranei (7:08 of lavish panoramas coming to life through the full array of keyboards) vs In Quale Luogo Si Fermo' Il Mio Tempo (melancholic musing on piano), Pioggia In Campagna (10:28 with drums and bass setting the stage for a fiery cavalcade between keys et guitar) vs Il Rumore Dell'Aria (narration over spacey synths weaving a dramatic background). 2 ? The subtleness of textures (arrangements and layering of melodies, careful and soft transitions within the pieces). 3 ? The overall musicianship. 4 ? A taste for experimenting forays (flirts with dissonance and the occasional mixing of genres, all in true Prog demeanor). 5 ?A solid musical culture mastered with brio ; a few chords, a riff sequence, a melodic phrase, or a peculiar touch, atmosphere or twist will bring to mind Genesis, Pink Floyd, Eloy, Gilmour, Hackett, A. Phillips, Camel, Caravan, PFM, Le Orme, Banco, Spock's Beard and many others. All these influences are integrated so well within the compositions that it never feels as if Logos are imitating them all ; at best, they're merrily nods and winks to iconic references.

When compared to more or less recent releases from the "new wave" of RPI, I'd venture to say that Logos' musical ID as perceived through "L'Enigma Della Vita" is less urban than "Nous" (Nodo Gordiano, 2014) and less spirited and passionate than "La Crudeltà Di Aprile" and "Il Paese Del Tramonto" (Unreal City, 2013 & 2015) , but bolder than "Dedalo E Icaro" (Il Cerchio d'Oro, 2013) and more balanced than "In Hoc Signo" (Ingranaggi Della Valle, 2013) or "Deus Lo Vult" (Il Bacio Della Medusa, 2012) (I mention these last two releases together because they share common ground : both are based on the First Crusade (end of the 11th century).

4,5 clues rounded up to 5 for a full mystery

Italian band LOGOS was formed back in 1996, and released an initial two albums the next few years before entering a lengthy phase of inactivity as recording artists, and from what I understand much of this period consisted of the band going through numerous line-up changes. Some thirteen years later Logos marked their return with their third full length production, "L'enigma della Vita", which was released through Italian label Andromeda Relix in 2014.

Logos initially started out as a band performing covers of progressive rock from the golden age of Italian prog I understand, and at least their earlier albums have seen them placed inside the context of those bands as well, a small niche in the progressive rock scene where certain bands are described as Rock Progressivo Italiano, abbreviated as RPI. The defining features of the bands placed within that segment is that they tend to be vintage symphonic in expression, have an eclectic stylistic register, and that if vocals are present they convey lyrics in the Italian language. Logos as of 2014 isn't a perfect match for that particular context to my ears, as their style doesn't revolve around the vintage or classic era sound, but apart from that this album fits quite nicely into this minor niche.

The symphonic qualities of the material is a mainstay throughout, and the band does have an eclectic take on it too. Arguably with a different scope than others, and the eclectic tendencies mainly so within a symphonic context. This isn't a band that incorporates multiple and vastly different style details into their compositions, but they do incorporate multiple variations of symphonic progressive rock into their brew.

The most common expression is a dampened, dark variety revolving around careful dark toned guitars, vintage keyboards and organ, with strong similarities to Pink Floyd, a band mentioned by Logos as influential. They do explore this sound in a more jubilant and expressive manner as well, on those occasions ending up with a mood and atmosphere closer to what German band Eloy did in the late 70's, and on occasion modern synths and electronics flavor the arrangements in a manner that sounds closer to a band like Porcupine Tree. Another variation see the band use more atmospheric laden keyboards, at times supplemented with the good, old Mellotron, for an expression that to my ears is a bit closer to what a band like IQ have explored over the years. All of these subtle variations over a style foundation, without any dramatic differences between them, but with nuances of a less or more easily defined difference that invokes different associations.

There's also room for darker, more brooding arrangements of course, the classic progressive rock bands from Italy in the 70's were at times employed to produce the soundtrack to thriller and horror movies, and the musical legacies of that expression is another feature that occasionally appears on this album, most likely to the delight of fans of bands such as Goblin. That Logos also find room for a couple of jazz-oriented lead motifs one of those additional details that will further delight those with a soft spot for the more eclectic Italian progressive rock bands I imagine.

Logos have made a good job of developing material that are compelling too, the compositions smoothly moves between various phases and arrangements with a natural, organic flow, always with a good ear for when some minor variations or tweaks are needed and with plenty of room for engaging solo sequences of various kinds. Occasional flute soloing adds a lighter touch to the material as well, and there's a good balance between the delicate passages and ones with more of a majestic general expression. A well made album all in all, and a production that may well find favor among fans of symphonic progressive rock and neo progressive rock just as much as it does to those with a strong affection for bands sorted under the RPI niche.

Logos emerged from 13 years of hibernation (at least as far as releases went) to present the world with this new album. The band are clearly well-versed in their country's progressive rock tradition, with influences from a range of classic RPI bands like Banco, PFM and Le Orme creeping into their music, but far from being a nostalgia act they are able to craft a sound which stretches from the heady days of the 1970s all the way to the present and beyond, with some furiously foreboding moments here and there which sound far harder and heavier than anything the RPI bands of ages past unleashed on the world.

At the same time, these moments are somewhat sparse, and much of the album is filled out with the sort of material which symphonic prog, neo-prog, and retro-prog artists make by the bucketload these days. In addition, some aspects of the presentation let the rest down; in particular, Luca Zerman's vocals are tentative and unhelpful, and not even mixed especially well, in yet another example of a prog band not valuing vocals enough to get a vocalist with talent commensurate with the instrumental talent on display, but not quite having the guts to go fully instrumental.

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*)