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LOGOS

Rock Progressivo Italiano • Italy


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Logos biography
Founded in Verona, Italy in 1996

Logos was formed by Luca Zerman (keyboards), Alessandro Perbellini (drums) and Fabio Gaspari (bass and guitar) as a cover band of Le Orme. Later guitarists Massimo Maoli and Andrea Dossi joined the band (although Andrea Dossi only for a short period) and they started to work on original compositions. In 1999 they released a first self produced eponymous album. In 2001 they released a second interesting self produced album, "Asrava". Their sound is clearly inspired by Italian classic prog bands like Le Orme, BMS, PFM but also by Genesis, King Crimson...

After many troubles and line-up changes they are working on a new album. The present line-up features Luca Zerman (keyboards), Fabio Gaspari (drums), Massimo Maoli (guitar) and Claudio Antolini (keyboards)

In 2014 they release their long anticipated 3rd album "L'enigma della vita".

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LOGOS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.48 | 16 ratings
Logos
1999
3.47 | 20 ratings
Asrava
2001
4.17 | 340 ratings
L' Enigma Della Vita
2014
4.31 | 99 ratings
Sadako e le mille gru di carta
2020

LOGOS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

LOGOS Videos (DVD, Blu-ray, VHS etc)

LOGOS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

LOGOS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

LOGOS Reviews


Showing last 10 reviews only
 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Greek for "word," "discourse" or "reason," the word LOGOS encompasses many meanings whether it refers to the pre-Socratic philosophy, the divine wisdom of Hellenistic Judaism or the Christian references to the creative word of God. It also makes a mighty fine and majestic sounding band name which has in fact been adopted by a few other musical acts including an Argentinian heavy metal band, an obscure psychedelic folk band from Kansas, a Belarusian power metal band (albeit in Cyrillic) and a cheesy new age act from France but it goes without saying that the BEST band to adopt this moniker and unleash some of the coolest Italian symphonic prog to rock on the planet since the 70s has come from this LOGOS that originates from Verona, Italy.

LOGOS began as far back as 1996 and released a couple early albums such as the self-titled debut in 1999 and the followup "Ásrava" two years later. While a little rough in the production department, LOGOS fronted by Luca Zerman and Fabio Gaspari nevertheless displayed a talent in crafting massive prog sprawlers that evoked the epic nature of 70s Italian prog from the greats such as Premiata Forneria Marconi, Banco del Mutuo Soccorso and Museo Rosenbach however something was clearly lacking from those early albums. With a lackluster production that sounded like a DIY tribute to the past, LOGOS slowly slipped into a coma and spent thirteen long years crafting an album worthy of standing in the shadows of the great Italian musical gems that preceded. "L'Enigma Della Vita" was released in 2014 to great fanfare which hit all the right notes for symphonic prog lovers and established LOGOS as one of the most memorable Italian prog bands of the 21st century.

"L'Enigma Della Vita" was an absolute treasure trove of Italian prog that mined heavily from the past but also included many aspects of the modern neo-prog word as well as interesting electronic supplementing not to mention a crystal clear production job that far exceeds most albums of not only the past but of the present as well. The pacing of the tracks was perfectly placed and while the album evoked the now traditional framework of Italian symphonic prog, the album managed to take you somewhere else entirely and still remains one of my favorite prog albums from the last 10 years. With a team of musicians so dedicated to perfection, we easily could've expected another decade to lapse before a followup would find the light of day but lo and behold the fourth album SEDAKO E LE MILLE GRU DE CARTA ( Sedako And The Thousand Paper Cranes ) has finally emerged in 2020 a mere six years after its predecessor and prog fans can giddily cheer that this band strikes again with another perfect mix of Italian prog of yore fortified with unexpected modernities.

SEDAKO E LE MILLE GRU DE CARTA does not deviate from the band's established sound. This album mines the past greats such as PFM and Banco for brash retro sounding Italian prog that includes plenty of knotty, sinewy classically infused prog rock with occasionally excursions into mellotron-fueled jazz. Complete with a conceptual narration of a small girl named Sedako who lived in Hiroshima during World War II and the tragedy of the day when a nuclear bomb dropped forever changed the entire world. With this microcosm of time and place in mind, LOGOS crafts a musical accompaniment that mixes lengthy instrumental passages, often quite dramatic along with more sensual vocal led song sections. Of course like any great Italian band, LOGOS exclusively uses the Italian language which IMHO is much more emotionally expressive than English in many ways.

While six years may be a long time to wait for the next album, LOGOS does not disappoint with SEDAKO E LE MILLE GRU DE CARTA. This album easily skirts past the 64 minute playing time and entertains with six satisfying tracks that begin with the organ heft intro of the all instrumental "Origami in SOL." With four of the six tracks exceeding the ten minute mark, this is serious prog with plenty of time for tracks to develop strong interconnected melodies, excursions into lengthy time signature rich improvisations and then like magic return at the drop of a hat to the main melodic theme. The tracks are exquisitely designed and showcase a maturity often reserved for the most serious classical composers or soundtrack geniuses. Because of the complexities involved, this is not an album to throw on and say you understand it in one sitting. This one will instantly appeal to one's prog sensibilities on a single listen but multiple spins will only reinforce a magnanimity that is on par with some of the greatest Italian prog releases of the past five decades.

The main musicians include Luca Zerman on lead vocals and keyboards, Fabio Gaspari on bass, guitars, mandolin and vocals, Claudio Antolini on additional keyboards and Alessandro Perbellini on drums however four guests contribute extra vocals, guitar, drums and saxophone. "Paesaggi di insonnia" and "Un lieto inquietarsi" generate the prog steam to hook even the most hardened progger but after the six minute "intermission" "Il Sarto" which is a melodic vocal rock ballad, the true prog workouts bedazzle the soul in the form of the near 13-minute "Zaini di Elio" and the sprawling title track which extends past the 21 minute mark. Now that's what i call PROG!!! While the concept of the album may be lost to non-Italian speakers, this album doesn't rely on any lyrical connection as the music is so divinely inspired that the melodies and motifs will give you goosebumps as they are so gorgeous.

In the music saturated world where artists come and go, i never really put any faith that any given band will follow up with any album much less one that matches the magnificence of a prior masterpiece but LOGOS has many tricks up its sleeves and proves without a doubt on SEDAKO E LE MILLE GRU DE CARTA that this act is one to be reckoned with and worthy of being grouped into the big boys club of all the greats that have come and gone. This album is satisfying on all levels. It excels with beautiful melodies that adopt classical hooks along with local Italian flavors but dedicates much of the album's real estate to hefty proggy workouts that will leave you gasping for air! All in all, LOGOS delivered a huge surprise with my top pick for best prog album for 2020. Like many other artists of recent years such as Wobbler and All Traps On Earth, LOGOS has crafted some satisfying retro prog that brings the classic sounds up to date without missing a beat. This album is really addictive. It didn't hit me as the masterpiece it is until about the fifth listen. Do yourself a favor. Listen to this album! If you love classic Italian prog then this is certainly a mandatory listening experience.

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by ChristianRO

5 stars After the first two albums which had poor audio quality, LogoS released the impressive 5-stars album "L' Enigma Della Vita" and now, after a 6 years rest, we have an epic return with another five-stars album "Sadako e le mille gru di carta". Being a big fan of Rock Progressivo Italiano (PFM is one of my favourite bands), a new LogoS album is not something to be missed. This is a pure RPI release with great keyboard driven songs, impressive long instrumental passages and dark lyrics. "Paesaggi di insonnia", "Un lieto inquietarsi" and "Zaini di elio" are superb compositions but "Sadako e le mille gru di carta" might be the best prog epic of this century. Prog does not get much better than this!!! The best five stars album of this year.
 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by Progfan97402
Prog Reviewer

4 stars Logos is an Italian band that's been around since the 1990s, although the current incarnation features a totally different lineup aside from Luca Zerman. I am not familiar with anything this groups has done, aside from Sadako e le mille gru di carta. I'm under the impression after two albums in 1999 and 2001 the band broke up and then reappeared many years later. This is their second album from their return, and this is a concept album of a child that survived the Hiroshima bombing. Where there's a clear Japanese theme to the album, including the cover that depicts folding creases for origami. Despite that, don't expect any Japanese ethnic styles, no koto, shamisen or shakuhachi, what you get is straight up Italian prog, much like Banco or Le Orme. The vocals aren't as dramatic as Banco, but the band features tons of great keyboard work, including Moog, organ, and Mellotron (or possibly the M4000D). Some digital synths do rear their heads, though, but never intrusive. "Il Sarto" features guest female vocals from Elisa Montaldo of Il Tempio Delle Clessidre fame. Musically this is very much symphonic prog, Italian style and it's a rather nice album.
 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by Andis

5 stars Probably the best album of 2020

This may very well be the best album that was released in the year 2020. I hoped, but didn't really expect, that Logos could top their fabulous album from 2014 named L'enigma della vita. But they do. What an album this is! There is one hour of great music on the album, completely without lowpoints. It starts on a high note, and goes out with on a high note. Their style and influences are well grounded in the proud and grand tradition of italian progressive rock. You will instantly hear influences from Le Orme and Banco del mutuo soccorso, although Logos is on the more rockier side of those two bands. The influences from Le Orme are present through the whole album, the song 'il sarto' could very well be a lost Le Orme song dating back from 1974. I cannot think of one weakness, the soundproduction is excellent, the singer (mostly instrumental stuff here) is great and the melodic driven songs just blows me away. Directly from the start with the 2-minute opener, I know this is good stuff. And what surprises me is that I enjoyed it the very first time I listened to it. I usually have to listen to an album about three times before I like it, but this one was an instant success. Now, I listened to it about seven times and it still holds up. Another thing that makes this album a hit is that the 21-minute song keeps me interested for the whole 21-minutes. Few bands have ever achieved that (Yes, Museo rosenbach). They also sing in italian, thank god, wich makes the album feel more genuine and authentic. Keyboard driven progressive rock with a ton of great melodic passages and plenty of complex interludes to keep my interest all the way. What an album this is! I can highly recommend it to anyone. This is how a five star album sounds like.

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Italy's prog revivalists are back with another collection of songs that seem to pay homage to some of the great RPI albums of the 1970s. I hear frequent snippets of BIGLIETTO PER L'INFERNO, LE ORME, BANCO DEL MUTUO SOCCORSO, MAXOPHONE, PANNA FREDDA, and even GENESIS and RICK WAKEMAN in a lot of this music as well as very keyboard-dominated music.

1. "Origami in SOL-" (2:16) instrumental introduction. Sounds like JOURNEY, STARCASTLE, GOBLIN, and ELP. (4.5/5)

2. "Paesaggi di insonnia" (11:27) Organ-dominated RPI in the BANCO and LE ORME vein--though Luc Zerman keeps reminding me of vocalist PAOLO FARINA. So many dynamic stops and starts, shifts and twists, I can't help but feel a bit lost, or confused. Love the stripped down passage beginning in the fourth minute with its use of sax and its familiar melody line (from LA COSCIENZA DI ZENO's 2013 masterpiece, Sensitività). Saxophone emerges from its murky effect to become the dominant soloist (with, of course, the multiple keyboards) until the next shift at 8:30, a sparse vocal section which is eventually joined by a slowed down chunky bass-dominated motif until 9:40 when a whole-band chord progression begins chugging along, pre-empting a heavy VAN DER GRAAF GENERATOR-like sax-led section at 9:40 to the finish. (18/20)

3. "Un lieto inquietarsi" (10:48) opens with some very melodic synth riffs being explored with start-and-stop accompaniment. After half a minute, the light is green and the band takes off in a fast, thick, forward motion. BANCO-like tangent in the third minute takes us on a left turn down a different street--kind of dream like in the BALLETTO DI BRONZO tradition. Return to previous theme before shifting back to opening motifs. Another dream shift at the end og he fourth minute leads into a brief mediæval passage in the fifth and sixth minutes--which I like--but why does it exist? Why is it here? What story & moods are they trying to convey? (This series of questions makes me believe that non-Italians should be banned from reviewing RPI music.) Why is it followed by the organ-dominated section? Why do the vocal melodies not fit with those being repeated by the keyboards? To me, this song is a mess of non-sequitur motifs strung together in a pattern that is as abstract to me as one of Charles Beaudelaire's fleurs du mal. (16.5/20)

4. "Il sarto" (6:00) opening with Procul Harem organ and pop-Italia strummed guitar, the song sounds and continues to sound as if it was lifted off of an album (or live outdoor concert performance) in the late 1970s. Nice pop song, nice vocals (grace á Il Tempio delle Clessidre's wonderful Elisa Montaldo) maybe even a hit, but, again, why/how does it fit into this theme? (Or, is this not a concept album?) (8.5/10)

5. "Zaini di elio" (12:38) opens with blatant Duke-era GENESIS opening before adding a harpsichord and Arp synth to cover switch to a BANCO sound. But then, whoops, we're back to a Wakeman-Duke-like coda before dropping into a slower, more MAXOPHONE-like section used to support the first vocals. The complex instrumental section that follows feels straight out of the LE ORME Felona album before reverting to the bombastic Duke-theme for some Wakeman-like soloing. The flow of this song is, at least, much more coherent and less jagged than the previous two epics. The romantic buildup to and in the tenth minute works really well until the melody-mirroring choral vocalise starts to shift (are they off key or just providing counterpoint?) and then weaken again with the key shift in the twelfth minute. Otherwise, this song works! (23/25)

6. "Sadako e le mille gru di carta" (21:20) simple MIDI-ed piano, synth organ, and children's playground noises (Ah! The pre-COVID days!) open the first two minutes of this true epic. When the full band kicks in in the third minute I am fully in a LA COSCIENZA DI ZENO song--but then everything drops away to allow solo MIDI-ed "warped" piano to have the full stage. Male vocals enter and sing powerfully, really telling this story in the way that the Italians do so well! LE ORME-like instrumental section takes over in the fifth minute. Nice. Easy on the ears, fully accessible. Then, in the sixth minute, a Japanese sound & riff enters to colour the story in a different way. Unfortunately, this diminishes the power of the vocals when they return. And then the PAT BENETAR motif filling the first half of the eighth minute is disappointing, but then some ELP flourishes and a Duke-era GENESIS-like passage restores some faith and hope as we enter the tenth minute in a pleasant, easy-on-the-mind way. At 10:10, we take another turn, using EMINEM's beat from "Lose Yourself" before the band turns back to finally expose the Sadako theme as used in artist Marica Fasoli's YouTube video (how I found out about this album). A MIKE OLDFIELD-like recapitulation of previous themes using different sounds then ensues before we return to vocals late in the fifteenth minute. The lead vocalist here again sounds so much (to me) like PAOLO FARINA (it makes we want to hear his 2014 masterpiece, "Fiori, frutti, farfalle"). More rehashings of previously revealed themes--except for the chunky bass, many having that LE ORME feel and sound (we are now in the dénouement--the rest of the song follows the same form and themes, just building upon them). Unfortunately, these last six minutes tramp on a little too ploddingy. Overall, the song is very accessible, especially melodically, but it's a little too cliché-bombastic and simple to be called "perfection." Wonderfully engineered, though! (35/40)

Total Time 64:28

Nothing really new or Earth-shattering here, just well-crafted, well-produced prog/RPI. I'm not sure if I like the simpler, more straightforward music of the opener, the title song, and "Il Sarto" or the complex game of Pac-Man that "Paesaggi di insonnia" and "Un lieto inquietarsi" take me on, but it's all good. Definitely an album that I'll want to return to--up there with the LA COSCIENZA DI ZENO and UNREAL CITY albums of the past decade.

B+/4.5 stars; a near-masterpiece of progressive rock music and a wonderful effort to resuscitate and pay homage to many of the sounds, themes, and styles of the old RPI masterpieces.

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by emisan

5 stars I'm not a huge fan of Rock Progressivo Italiano, although I consider PFM, one of the best and original bands in the 70's. Previous Logos' albums didn't spoke to me that much but this album, oh, I have no words... Musicianship is near perfection; this might be the best album of the decade, next to Wobbler's "From Silence To Somewhere" and should be easily the best album of 2020. The keyboards are out of this world. The concept and the lyrics are dramatic and impressive. Most of the vocal parts sounds almost awful (big sorry for this) but fortunately 80 percent of the album is instrumental. Paesaggi di insonnia (11:27), Un lieto inquietarsi (10:48), Zaini di elio (12:38) and Sadako e le mille gru di carta (21:20) are the outstanding highlights of the album. Highly recommended.
 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by CeeJayGee

4 stars This album has had such an early flurry of five star reviews, including no less than two by PA collaborators, that I had to give it a try. After a full listen on Bandcamp I decided to buy but as Bandcamp were offering the complete LogoS Bandcamp catalogue for not much more than the latest album, I opted for that as I had none of the band's earlier releases. That has proved to be a wise investment as I have enjoyed all four of the albums available on Bandcamp.

Sadako e le mille gru di carta is a fine album. The album has six tracks (Bandcamp has a seventh bonus track, a shorter version of the 21 minute epic title track which I assume has been released as a single). Four of the six tracks are over 10 minutes long. The music is complex, immediately listenable but requiring several listens before you fully appreciate its quality. Vocals are used sparingly and at times almost rock opera in style.

Having had the opportunity to listen to all four of LogoS' back catalogue the one thing that has struck me most is the extraordinary variety in the melodies as the tracks develop. The structural complexity of each track is remarkable as you rarely notice a return to a repeated theme. This is probably the reason for the long gap of several years between album releases because it takes time to write this volume of unique music. This is a credit to the band's compositional abilities but, for me, makes the albums less compelling than the great classic albums. Now, that view may change as I listen further to the albums (currently at around four listens of each) and I become more familiar with their structure.

My initial rating for Sadako e le mille gru di carta is a strong four stars, primarily because while I find myself returning to it for a re-listen, I am similarly returning to Asrava from 2001 and particularly to L'enigma Della Vita from 2014 which I am enjoying equally as much. So while I don't at this stage believe their latest is a classic requiring five stars, I strongly recommend LogoS and its fine back catalogue of albums which like so many of the albums of today's prog bands deserves greater recognition.

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

5 stars Usually I need more listens before writing a review, and I'm not used to rate an album very high after just few listens, but this is the exception. First of all because I've listened to the whole three times in a row and while I'm writing the title track, a 21 minutes epic, is playing again.

First thing: this is RPI. If you have in mind the classic RPI, this is what you can expect from this album: keyboard driven epics of the kind that unfortunately bands like PFM today seem to have become unable to write. Second thing: it's a concept album based on a very moving true story with lyrics which deserve to be understood, and you can find them translated in several languages on the band's website, even if the poetry looses power with the translation. Third: it's skillfully played and produced. In some passages the keyboard sounds remind to the old Rick Wakeman, with the usual little touch of Genesis influence which is characteristic of the RPI, but the story is so dark that the music can't not be dramatic and intense.

The album starts with a two minutes instrumental with GOBLIN's like keys. It's followed by "Paesaggi d'Insonnia"(Insomnia Landscapes) whose lyrics are quite cryptic. I think to the Philip Dick's chronicles. Again, some sounds and passages bring to my mind No Earthly Connection, but without losing the strong RPI flavor. I hope that Luca Zerman won't be disappointed by being compared to Rick Wakeman. The central part of the track is very melodic and when it returns to the dark realms it features the sax of Federica Zoccatelli who drives the long instrumental coda.

"Un Lieto inquietarsi"(A happy unrest) has a cinematic flavor which is now closer to Keith Emerson than to Wakeman. I'm spending a lot of words about the keyboards, but the band has two keyboardists; Zerman and Antolini, and almost no guitar, with Alessandro Perbellini and Fabio Gaspari playing the role of Palmer and Lake respectively. It's an excellent truely progressive track.

"Il Sarto"(The Tailor) Is a little moment of relief in the sadness of the story. The vocal harmonies of Elisa Montaldo are remarkable. The song is "short and sweet".

"Zaini Di Elio"(Helium Backpacks) is opened by a Genesis like instrumental intro. This is RPI after all. The lyrics are linked to the Pandora's myth. I haven't written a single word about the concept up to now. Let's wait a bit more. This track could have been an excellent closer, but there's still the 21 minutes epic.

Now it's time to speak about the concept: it's an album about war and about the story of Sadako, a girl survived to the Hiroshima bomb when she was 2 years old, who died of leukemia at 11. In the hospital she was told a legend: if you are able to create 1,000 crane origamis you'll have a desire realized. She died after making 644.

The album, and this track in particular have very strong lyrics, written by Marco Zuffo. The band was told the story of Sadako by the paintress Marica Fasoli who realized also the album cover. The project was completed by the video director Elia Cristofoli (aka Solingo) as a multimedial opera, but I haven't seen the video yet.

Anyway, this is a moving album perfectly in line with what one can expect from something labeled RPI. This is not my favorite genre, so if it has had the poweer of keeping me stuck on it for more than 3 hours it surely deserves the 5 stars I'm going to give it as rate. I

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.31 | 99 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars One of the greatest challenges any artist must overcome lies in its ability to surpass a previous masterpiece, finding the narrow source of consistency in inspiration to constantly go beyond and come up with a new offering. Often, some artists decide to alter their sound or style and forge into new realms of creativity, with mixed results, some managing brilliantly and others faltering. Italian prog band LogoS reached widespread acclaim in 2014 with their third album , the sublime L'Enigma della Vita , which was universally lauded and applauded in the global prog community, a scintillating effort that had all the classic hallmarks of Italian Prog (RPI) whilst maintaining an original flavour all to its own. Everything about it was magical: sound, production, atmosphere, talent, songs with great instrumental prowess and truly excellent vocals. The artwork left no stone unturned, flush with melancholy and grandeur. 6 years later, the band comes out with its much awaited follow up, with all fans wondering if the new work will equal or surpass the previous release, or if that they had decided to go into another realm altogether. Let me reassure you all right away, there is no need for any concern, as 'Sadako e le Mille Gru di Carta' maintains and even exceeds expectations! Still helmed by the incredible Luca Zerman on lead vocals as well as keys, aided and abetted by fellow ivory man Claudio Antolini, as well as devilish bassman Fabio Gaspari, who doubles on guitar, mandolin and vocals and adding terrific drummer Alessandro Perbellini. The album has a theme focused on a Japanese legend, an artistic style known as Origami and combining that with history, namely Hiroshima, through the eyes of a little girl Sadako, victim of the radiation released by the A-bomb. The cover and artwork are once again highly evocative and drenched in artistic flair and melancholia.

The majestic synths open the proceedings with 'Origami in Sol', a bold fanfare that sets the tone, the dual keyboards cooking up quite the storm, ending with a lovely Japanese lament that lasts only a few seconds. The spellbinding 11 and a half minute 'Paesaggi di Insomnia' showcases the band's strengths, namely the concept of musical unpredictability as the rumbling bass guitar takes over, helped along by string synths, switching gears into the vocal section, laden with sorrow and grace , then a soaring synthesizer melody that secures the main theme in a typical RPI manner. Sorry, but I am hooked already after only 6 minutes into this recipe! In stupendous and wholly unexpected fashion, a delirious saxophone courtesy of guest Federica Zoccatelli makes its way into the arrangement, united with the twirling keys. Prog does not get much better than this!

How about another epic, back to back? Well, Luca and the ragazzi oblige with another nearly 11-minute whopper, and I find myself giggling nervously at their audacity! Their ability to combine the simple and gorgeous melodies with complex arrangements laden with twists and turns will excite progsters to no end. The first few moments of 'Un Lieto Inquietarsi' have a distinctive ELP flavour, swirling keys and a chugging organ, booming and nasty bass line, pushed along by precise killer drumming. A serene mid-section weaves a delicate path, a brief respite before diving once again into a sonic fray, this time fueled by dual vocals from Luca and Fabio, the mean bass shoving the melody to higher planes. Spectacular, vibrant and grandiose, Prog does not get much better than this!

'Il Sarto' is a shorter piece also featuring the vocals of guest Elisa Montaldo of Il Tempio delle Clessidre , very much in the Le Orme style which should come as no surprise as LogoS started out learning their chops as a Le Orme cover band. A beautiful ballad, pastoral and bright, the voices united in passion and hope, a typical Italian accordion sound to highlight their native folk roots, often present in RPI. Delightful interlude.

How about 2 more epics to seal the deal? Va bene, let's set up a 12 and half minute composition, 'Zaini di Elio', this time adorned with harpsichord-like effects (which I feel lags in prog but it's a difficult instrument to copy, according to my musician pals), still frantic and moody, folding in some interesting additions with choppy sections, bewildering synth solos and some manic drumming from signore Perbellini! The crisp, precise and ingenious instrumental display is simply outstanding, and the vocals maintain a dazzling level of expression, the massive final chorus being as spirit rousing as it gets, tubular bells in support. I am conquered! Prog does not get much better than this!

Can this go on? Well, the grand finale is the title track, and a 21minute and 20 second masterpiece it is, perhaps their crowning career achievement up to now. Five seconds in, the desolate piano notes hit one in the gut, dripping with sorrow and dejection, a melody of classic proportions. The synthesizer takes over boldly, still flavoured with the soft piano emanations, the crushing vocals invoke the quest for the end of war, indeed of all wars and to let peace finally rule forever more. A Japanese motif creeps in amid the electronic keyboard fray, showcasing a glittering array of tonal variations, balancing bombastic with elegance, a real tour de force. A guest cameo, former guitarist Massimo Maoli lets his electric guitar rip with subtle abandon. Every sound is highly melodic, well thought out, creative and inspired. At the 13-minute mark, the arrangement shifts into a more modern groove, an electronic chugging mood that orients towards the final vocal passage, in companion with a slippery synth solo and the lurking menace of a throbbing bass guitar. The finale ends in crescendo of sound and fury, the raging guitar slicing through the mushroom cloud, the voice exalted and despondent, the piano slowly ending its march along the black and white board. The cranes have been folded. Prog does not get much better than this!

As a bonus track, a mini 5-minute version of the title track, a radio edit, recaps the entire album perfectly. I am quite sure that previous fans and critics will love this opus, which I believe not only surpasses the previous gem but will be the 2020 album of the year for many. To think that this was completed during the Italian crisis of the pandemic, clearly shows the dedication and the courage of musicians of this calibre in overcoming odds to display their talent and to entertain us with their beautiful music.

5 Orizuru (paper cranes) but there is really 1000 of them!

 L' Enigma Della Vita by LOGOS album cover Studio Album, 2014
4.17 | 340 ratings

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L' Enigma Della Vita
Logos Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars Logos emerged from 13 years of hibernation (at least as far as releases went) to present the world with this magnificent 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.
Thanks to andrea for the artist addition. and to Quinino for the last updates

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