Sadako e le mille gru di carta (Sadako and the Thousand Paper Cranes) by LogoS, released in 2020.
I discussed this important Italian progressive rock band in my biographical profile and in my review of what I consider their masterpiece, 2014's L'enigma della vita.
Current events, the disconcerting news of a revision of the nuclear non-proliferation treaties and the ongoing threats to use such weapons now coming from various directions, have unfortunately brought the topic back to the forefront and brought to light the memory of that first great nuclear tragedy that devastated not only a country but all of humanity and changed history.
This album approaches the tragedy of Hiroshima from the perspective of its consequences for ordinary people, as a way to keep our attention high and that experience alive in our memory, lest we forget what humanity was and is capable of. For my generation, those born in the 1960s, that event is distant history. For subsequent generations, it was a chapter in a book studied in school, perhaps the plot of a film or documentary. And this, for better or worse, had a positive aspect: we didn't live in a world where the use of nuclear weapons was perceived as a real risk, but rather as a warning, but also as an achievement, that of a humanity that, with all its undeniable flaws, abolished such forms of conflict. What is happening today contradicts this. It is no longer true that the atomic threat is a vanished threat, belonging to a film of the past or a science fiction film about a dystopian future that will never come to pass. It is a concrete threat. A declared one. For some, acceptable, if not even desirable. And the reflection behind this album's concept helps us see it as it should be perceived by everyone: absurd and unacceptable.
Sadako and the Thousand Paper Cranes is a concept album inspired by and dedicated to the true story of Sadako Sasaki, a little girl who survived the Hiroshima bombing but was struck by leukemia years later. The work explores themes of poetry, memory, and hope through the Japanese legend of a thousand origami cranes.
In August 1945, at the age of four, Sadako Sasaki survived the atomic bombing of Hiroshima. Years later, at the age of eleven, she was diagnosed with leukemia, a consequence of radiation. While she was hospitalized, a friend told her of an ancient Japanese legend: whoever folded a thousand paper cranes (origami) could make a wish, which would come true. Sadako, moved by the hope of recovery, began folding her cranes.
Sadako was unable to complete all 1,000 cranes before she died in October 1955, at the age of twelve. Her classmates, moved by her story, completed the missing cranes and proposed building a monument to her and all the child victims of the atomic bomb. Sadako's story and the paper cranes have become a global symbol of world peace and rejection of war.
Logos chose this powerful and tragic story as the thematic focus for their fourth studio album.
The album, released in 2020, is a work that blends poetry and memory to reflect on the horror of war and the universal desire for peace.
The band's progressive rock sound (predominantly featuring Hammond instruments and synthesizers) accompanies the emotions and events of the story, culminating in the extended final suite, the heart of the album. The band has successfully translated the delicacy, hope, and tragedy of Sadako's story into music.
The sound blends classic '70s prog with modern electronic influences. Highlights include the intense use of Hammond and synthesizers, complex rhythms, and atmospheres that range from gentle piano moments to complex instrumental suites.
"Origami in SOL" is an instrumental opening track that begins with a melancholic piano and ambient sounds of children's games interrupted by the roar of a B-29 bomber's engines, a beautiful, delicate, and engaging intro.
"Paesaggi di Insonnia" is a complex piece that combines a symphonic sound with an aggressive, decisive mood, featuring constant tempo changes and a prominent, splendid use of synthesizers for a disturbing atmosphere.
"Un Lieto Inquietarsi" alternates tense moments with melodic moments. A superb performance.
“Il Sarto” is the shortest track, a moment of calm and hope amidst the sadness of the story, reflected in the song's atmosphere. It features a beautiful '70s Italian progressive rock sound, with Elisa Montaldo's beautiful vocal harmonies.
"Zaini di Elio" has a beautiful Genesis-style opening, one of the album's most beautiful tracks, with touching lyrics by Marco Zuffo.
"Sadako e le mille gru di carta" is the final suite, an epic track that encapsulates the album's entire concept, from the initial ambient sounds to majestic explosions and solemn atmospheres. At over 21 minutes long, it's my favorite track, capable of evoking images of great emotional impact.
The album artwork is an integral part of the album, designed by Marica Fasoli, who used origami as a central art form, in keeping with Japanese legend. The cover image shows the sheet resulting from the unfolding of a single, large paper crane, and the artwork extends into a booklet that includes additional images and text, a multi-layered artistic experience.
A splendid album that addresses a tragic theme with extreme delicacy and great performance and compositional technique.
Highly recommended!
Note: All links to the musicians' works are in the TAGS under the article title or on the "Artists" page.
Tracklist
Origami in SOL- (2:19)
Paesaggi di insonnia (11:29)
Un lieto inquietarsi (10:47)
Il sarto (6:00)
Zaini di elio (12:37)
Sadako e le mille gru di carta (21:22)
Lineup
Luca Zerman - Vocals, Hammond, Synth
Fabio Gaspari - Vocals, Sasso, Guitar, Mandolin
Claudio Antolini - Piano, Synth
Alessandro Perbellini - Drums
Featuring:
Elisa Montaldo - Vocals in "Il sarto"
Massimo Maoli - Guitar in "Sadako e le mille gru di carta"
Simone Chiampan - Drums in "Il sarto"
Federico Zoccatelli - Saxophone in "Paesaggi d'insomnia"
Testo and music by Luca Zerman
Listening links:
Some tracks from the official YouTube channel LogoS
