Kenso Complete Box (2012) [13SHM-CD + DVD]

This is a Japanese numbered limited edition box set featuring SHM-CDs of the complete Kenso collection. Each album comes in a nice mini-LP style sleeve. In addition to a nicely put together booklet, you get the 11 studio/live albums (don't forget Music For Unknown Musicians was a double) plus a CD with unreleased studio and live tracks, a live DVD. As an additional bonus you get a live CD that was an exclusive for the Disk Union retail chain.

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Kenso Complete Box (2012) [13SHM-CD + DVD]

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Kenso Biography

Japanese band Kenso was formed in 1974 by Yoshihisa Shimizu. The group went into hibernation after a time, due to Shimizu's medical studies. In 1979 they began to work together in earnest again and released a self-titled album the following year. Two years later they released Kenso 2nd and Kenso 3rd was released in 1985. One year after, they released the live album, In Concert and the following year the group released Self Portrait, a compilation album. It would not be until 1989 that the group's next album, Sparta, would be released. Two years later they followed that release with Yume no Oka. Several live albums have been released since then, and the group continues to perform.

by Gary Hill, AMG

Kenso's eponymous debut album is a testimony of their struggle to find their own prog voice, while clearly marking a preference for jazz-oriented prog. The influences of Happy the Man, the good side of 78-79 Camel, and National Health are there, but it's also fair to add that the presence of Far Eastern flavours in their melodic lines and harmonic textures give a special touch of exotic drive to their repertoire. The musicianship is excellent, though the recording process wasn't conveniently supported by an efficient sound production: this one is actually quite poor, not disastrous, but actually poor. Yet, that should not be a reason not to enjoy the magical beauty of 'Inei no Fue' and 'Umi', which in my opinion are the highlights of this album. Tracks 5 and 6 are the weirdest, and I mean really weird: stepping far out of their jazz-rock influence, they choose to swim across pools of synth driven avant garde ambiences, indulging in dissonances, tetrical sound and vocal effects, Cage and Stockhausen anti-melodic studies… in a few words, they go Area-esque. On the other hand, track 3 (the only one with vocals in it) mixes glam-rock oriented passages with some delicate jazz-rock interludes: this one most likely was a remanent for their early years, since their original line-up included a vocalist, and their style included some hard rock leaning (this phase is properly documented in some of the bonus tracks). Clearly, this record is not as cohesive as you must expect from any masterpiece to be. Nevertheles, all in all, the level of proficiency and skill in the band members' performances makes it one good place to start for the newbie's entry into the world of Kenso. Only from 'Kenso III' onwards you can find a fully coherent Kenso personality conveyed on record.

by Cesar Inca

Tracklist:

1. Nihon no mugiuta
2. Inei no fue
3. Furiorosareta Yaiba
4. Umi
5. Kagome
6. Buchan no chugaeri



Musicians:

- Yoshihisa Shimizu / guitar, keyboards
- Masayuki Tanaka / bass, keyboards
- Shiro Yajima / flute
- Haruhiko Yamamoto / drums, percussion

Guest Musicians:

- Masaki Inoue / bass, vocals
- Ichiro Karamatsu / keyboards
- Atsushi Makiuchi / keyboards (5-6)
- Kazuyuki Morishita / piano (2-4)
- Kumiko Tanabe / vocals (2)
- Yoshiaki Tsukahira / vocals (3)

Idea considered so that band leader's Yoshihisa Shimizu may start this "Kenso" in full scale at student's time. Or, it is guessed that the zeal conceived power to make only at that time. The band started exactly at beginning of event of the 80's. Of course, they had formed the band at high school student's time. However, the leader was talking that there were some obstructions in the situation in which they were left so that they might walk in full scale in the history of music as "Kenso".

The band of their Prog Rock for the market of Prog Rock of Japan of the 80's though the band had been acting since student's time. Or, it is true not to be in order of the situation for Scene of Jazz Rock either. All works are announced exactly in the form of independent production for their initial works.

And, the situation of the music of Japan to the real start of the member and the leader of the band of Kenso for advancing the band. Or, the situation in which the leader is left. Coexisting of work to have originally until shifting to band leader at student's time. It is guessed that there were a little trouble and a flow to the band. However, the intention and zeal that starts advancing the band in full scale though the form of independent production is taken appear completely in the work.

They have been discharging energy that had it really at that time since the time of 1st Album announced in the form of independent production in 1980. Prog Rock exactly faced the state of the revolution for the market of music in the early the 80's. To establish it, the flow to which their musician took the element of minority at that time, Prog Rock on the dawn in the 70's might have spent a lot of time. It is said that "Sora ni hikaru", "Hyoto", and "Sayonara Progre", etc. had been completed at time when 1st Album has already been announced. The situation of a band active as the form of independent production was taken in Prog Rock Scene of Japan that faced the revolution period including them at the dawn might have been really difficult. I think that their debuts were the especially impacts for the listener in Japan.

The zeal is a composition of the tune to have already appeared in an initial work and not to think that it is a band in Japan completely. Or, how to make the sound. And, the height of the technology of the performance. The method of the expression by the composition of the band splendidly makes the directionality of the music at which they aim at that time an embodiment though the flutist existed in their initial works.

The sound of other various bands will be able to be imagined if it listens to the tune of the band. The idea of Prog Rock and Jazz Rock that the Japanese thought about though it had the element of PFM, Gentle Giant, and Brand X will have been exactly the challenges to music from another angle. It doesn't stay in the home country, and as for this album, there is very an evaluation and the fan that says the masterpiece this album might be not few in foreign countries either. Kenso contributes to the item of Prog Rock and Jazz Rock with the technology of the superior performance at the time of beginning.

by Kazuhiro

Tracklist:

1. Sora ni hikaru
2. Masui part 1
3. Masui part 2
4. Hyoto
5. Brand shiko
6. Harukanaru chi e
7. Naibu e no tsukikage
8. Sayonara Progre



Musicians:

- Atsushi Makiuchi / keyboards
- Kimiyoshi Matsumoto / bass
- Yoshihisa Shimizu / guitar, kbds, mellotron
- Shiro Yajima / flute
- Haruhiko Yamamoto / drums

Guest Musicians:

- Sachiko Miyashita / vocals

Kenso's third namesake album is one of the hottest and most energetic prog efforts released during the critical 80s period: such a pity I didn't know them back then! By the time 'Kenso III' was recorded and released, Kenso had finally become a well-oiled instrumental ensemble, with a clear artistic path set in their common creative mind, and with enough proficiency to accomplish it in a classy, exquisite manner. The number of guest musicians who occasionally appear along the repertoire does not stop the band from portraying their real own style: along with the clear influences they received from excellent acts such as Hatfield & the North, National Health, and early 80s-Weather Report, they managed to instill a healthy dose of Far Eastern flavours in order to create something of their own within the boundaries of jazzy-prog. The (not too abundant) use of analog synths makes this album sonically similar to many jazz-pop recordings of that era, but the material never falls into easy listening patterns: its catchiness relies on the nice counterpoints and tectures played on keyboards, which fluidly complement the guitar and synth solos. The repertoire is so even in terms of compositive excellence and clever arrangements that it's hard to mention just a few examples… but I'll try: the opening number, as well as tracks 4, 5, 9 and 10, are the most representative highlights of the album. Besides, you can find a couple of nice interludes (tracks 3 and 6) that introduce some well-balanced weirdness in the middle of this melodic feast. The bonus track is actually a re-recorded version of an original piece from their debut album. In conclusion: highly recommended!

by Cesar Inca

Tracklist:

01. Sacred dream I (2:49)
02. Power of the glory (4:16)
03.The breeze whispered through my mind (1:12)
04. Far East celebration (2:43)
05. La liberte de l'esprit (6:11)
06. Patter of the groovy (0:51)
07. Turn to solution (6:34)
08. Nostalgia (2:54)
09. Sacred dream II (6:04)
10. Beginnings (6:36)



Musicians:

- Kimiyoshi Matsumoto / bass
- Kenichi Oguchi / keyboards
- Toshihiko Sahashi / keyboards
- Yoshihisa Shimizu / guitar, autoharp, kalimba, mellotron, koto
- Haruhiko Yamamoto / drums, piano, percussion, glass, alto sax

Guest Musicians:

- Janna Kaku / voices (8)
- Atsushi Makiuchi / keyboards (7)
- Hiroyuki Namba / keyboards (5-7-10)
- Kyoko Nemoto / oboe (2-3)
- Tsunekatsu Takagi / vocals (4)
- Shiro Yajima / (4-10)
- Hiroyuki Namba / keyboards
- Aysushu Makiuchi / keyboards
- Kyoko Nemeto / oboe
- Shiro Yajima / flute
- Junna Kaku / vocal
- Tsunekatsu Takagi / vocal

This album like it's predecessor and Kenso II are for me the three best albums of the eighties! Sparta takes the symphonic structures further than ever before. Still the fusion-rhythms are there and powerful fusion-prog songs do exist on this album. The Stone Of Golden Hair Villa and Miskatonic for example. This album proved once and for all that Kenso could play mellow and purely symphonic prog without relying on fusion-rhythms. Something that Brand X failed on 1979 Product. What makes this album so special? It's a pure piece of Montesquieaian sharing with fusion, symphonic prog and japanese music. You can float in mellow and beatiful landscapes and just seconds later swing around your room due to the grooviness of Kensos rhythm. What makes this album different from Kenso III is the fact that the drummer Yamamoto and bass-player Matsumoto only played on the two first tracks. The rest of the tracks where played by Masayuki Muraishi (who would stay on the band until 2002 only to be replaced by Keisuke Komori) and Shunji Saegusa who has stayed with Kenso since.

by BrainStillLife

Tracklist:

1. Good days, bad days
2. Bifuka
3. The stone of the golden hair village
4. Miskatonie
5. P M
6. Gesshya senkoh
7. The shadow over Innsmouth
8. Neuro-psychoma



Musicians:

- Kimiyoshi Matsumoto / bass (1-2-4-5-7-8)
- Masayuki Muraishi / drums (3 to 8)
- Kinichi Oguchi / keyboards
- Shunji S?gusa / bass (3-6)
- Toshihiko Sahashi / keyboards
- Yoshihisa Shimizu / guitar
- Haruhiko Yamamoto / drums (1-2)

Kenso is a masterful Jazz-Fusion quintet heading from Japan and are known for releasing splendid albums during their long career, with "Yume No Oka" being one of their key albums, and with good reason. Stylistically inluenced by a good dose of progressive rock bands such as Gentle Giant together with the smooth and melodic styles of other Jazz-Rock outfits such as Ain Soph, Bruford and Return to Forever and it really shows when listening to these smooth and well arranged songs. The songs have a clear Symphonic Prog vibe to them but still with a strong dominating fusion twist and they all feature an incredible amount of ideas and diversety, as well as being very balanced at the same time. They all go through several different moods and complex melodies without being repetitious or dull at all, something that many artist haven't quite managed to do equally well. Kenso, however, have no problems with this and the overall result is just perfect. The musicianship is amazing and every player is technically profilic and knows exactly how to handle the music and play it the right way. The drummer, Masayuki Muraishi, especially is excellent drawing comparisions to other great drummers such as Phil Collins, Bill Bruford and Lenny White with complete ease.

Sound quality is crystal clear and great, with all details fully audible and supports the otherwise excellent music even further. The creativity of this band is unbelieveable. During these 45 minutes, this band came up with so much interesting material that is all pure gold to my ears at least, and after listening to this, you'll immediately get a feeling that you're either perfectly feeded instead of feeling bored. The case with me was that I was demanding for more to be honest, and if you're a Jazz-Fusion lover you'll surely feel the same after hearing this. I can't think of any particular weak parts on this album actually and it's carefully written and put together to produce the best possible result it seems. I can guarantee that they suceeded. Essential to any Jazz-Rock/Fusion lover or prog lover in general!

by Bj-1

Tracklist:

01. Tsuki ni Isoh I (5:33)
02. Toki no Imi (5:06)
03. Nazomeita Mori Yori (4:38)
04. Oia (1:36)
05. Kokoro no Naka no Kodai (5:13)
06. Fuan na Kioku (2:24)
07. Chichukai to Aryajin (5:16)
08. Oia o Satta hi (0:46)
09. The Fourth Reich (5:00)
10. Alfama (6:41)
11. Tsuki no Isoh II (3:13)



Musicians:

- Kenichi Mitsuda / keyboards
- Masayuki Muraishi / drums
- Kenichi Oguchi / keyboards
- Shunji S?gusa / bass
- Yoshihisa Shimizu / guitar, keyboards

Last album before the millennium for the oldest Japanese band around, Esoptron s easily the ballsiest album they've done so far. The recipe is relatively easy: bring the usually quiet guitarist up front and crack his amp to volume 11 and let him rip to shredds the recording tapes. Coming with a classy silvery b&w picture of the guitarist for an artwork, Shimizu also affects a pose that the Crimson Fripp would in an inside shot, and let's face it, musically, you can feel a bit this influence in many places.

Yes, Shimizu is the guitar hero the group always had and finally recognized, even if he is the main man on the album as he also plays keyboards and is the main songwriter, but he's still seconded by the other leader, keyboardist Ogushi. Otherwise the line-up is exactly the one of Yume No Oka at the start of the decade. Compared to previous albums of theirs (but I haven't heard all of them), this album is also very raw, almost messy (but voluntarily so) and might appear a bit as a jam band, despite its complex music. Yes, you've guessed it, we're far away from their ball-less symphonic rock of the 80's. Outside a pathetic drumming (this may appear as blasphemy to some, but Muraishi really misses it all in this album, especially in the choice of sound, but sometimes affecting 80's type of drumming as well), the keyboards are a mix of Emerson meeting Lord (including a tad of mellotron the Crimsonian Chronos track), but the group never veers towards jazz-rock or fusion. The group never gets better when it Release (it) Yourself, when the machine is firing from all cylinders, despite inadequate skin-banging sounds (not technique in this case) and the group finishes on the quieter Kiraku, the only track on this album that would merit a JR/F tag.

A much more interesting album than their early flimsy symphonic rock, Esoptron is not perfect (those hideous drums), but it is full of energy and sizzles the eardrums, which is what I ask from my music.

by Sean Trane

Tracklist:

01. Kojinteki Kikyu (8:59)
02. Negaikanearu Kodomo Wo Tsuseteyukou (5:14)
03. Kohan Nite (1:20)
04. Zaiya Kara No Kikan (5:01)
05. Chishiki Wo Koete (2:20)
06. Gips (4:03)
07. The Egg Of Joe (4:05)
08. Chronos Ouranos Esoptron (2:12)
09. Sou No Hiai (6:14)
10. Release Yourself (4:27)
11. Kiraku Ni Ikouze (2:19)



Musicians:

- Yoshihisa Shimizu / guitars
- Kenichi Oguchi / keyboards
- Kenichi Mitsuda / keyboards
- Shunji Saegusa / bass
- Masayuki Muraishi / drums

I enjoyed their "Dream Hill" release,but to be honest it didn't do a lot for me. So my expectations weren't that high for this one. They had me right where they wanted me. Haha. To compare the two albums is like comparing black & white to colour. This is so much more dynamic, I couldn't believe it was the same band. It's like they have totally let go of anything that was holding them back.

"Fist Of Fury" sounds like a Prog-Metal song. Fantastic scorching guitar as drums pound away so crisply and bass throbs. Some good organ from Kenichi who has guested on a RUINS album. Check it out after 3 minutes as the tempo picks up and the synths come in. The guitar is back 4 1/2 minutes in. "The Cunning Madrigal" opens with a pleasant melody before a dark and heavy sound comes in. This is incredible ! Again, I can't believe this is the same band.The guitar is beautiful, as is the organ before 2 minutes. It gets brighter sounding 3 minutes in like the intro. "Prelude To Concealment" features more heaviness. The drums and organ are great ! A change 1 1/2 minutes in as we hear a vocal melody and percussion. More splendid guitar. "Wooden Horse Pathos" again puts the spotlight on the organ and guitar as drums pound away with precision. A calm with piano is brief, and it is followed up with some blistering guitar. "The Split Gate" takes a minute to really get going. Light drums slowly beat as synths and percussion? take turns.The song gets more aggressive before 3 minutes as guitar comes in. Nice. It calms back down after 5 minutes. "Rebellion" is a great tune. The first 3 minutes make me feel good with the pounding drums and tasteful angular guitar melodies. Then they turn it up a notch for as the guitar becomes more prominant and organ shines as well.

"The Stairs For Dreaming" is a reflective acoustic guitar piece. "Echoes From Romano" reminds me of CAMEL until the pulsating synths come in. A full sound arrives 1 1/2 minutes in. "The Daughter Of A Recluse" features Eastern sounding synths? in this pleasant tune. "A Way Of Living As Taro" is another good one. An uptempo song with what sounds like vibes. The drums and bass are really well done. "Doppelganger In The Night" opens with what sounds like Hendrix on the axe. Guitar and keys intertwine the rest of the way. "Isolated Jiro" sounds like a ZEPPELIN outake. Nice and heavy with guitar leading the way. "The Understanding" is a short mellow tune that ends strongly. "A Grim Diary" opens with bass and drums before the guitar angles it's way in if you know what I mean. This is incredible ! Just a great, heavy rhythm to this one. Piano comes in and then some vocals after 4 1/2 minutes. Some nice keyboard melodies as the drums intricately beat to end the song. "Amalgamation Of Self And Others" closes the album with gentle keys and some odd sounds.

If you want to check out KENSO this is a great place to start. This was fun. Highly recommended.

by Mellotron Storm

Tracklist:

01. Fist of Fury (5:10)
02. The Cunning Madrigal (4:20)
03. Prelude to Concealment (2:23)
04. Wooden Horse Pathos (3:57)
05. The Split Gate (6:57)
06. Rebellion (4:04)
07. The Stairs for Dreaming (2:27)
08. Echoes From Romano (5:27)
09. The Daughter of a Recluse (2:10)
10. A Way of Living as Taro (2:40)
11. Doppelganger in the Night (1:14)
12. Isolated Jiro (4:14)
13. The Understanding (1:01)
14. A Grim Diary (5:53)
15. Amalgamation of Self and Others (1:36)



Musicians:

- Yoshihisa Shimizu / guitars, synthesizers, bouzouki and other ethnic instruments
- Kenichi Oguchi / organs and synthesizers
- Kenichi Mitsuda / piano, accordion, and synthesizers
- Shunji Saegusa / bass guitars
- Masayki Muraishi / drums and V-drums

Guest Musicians:

- Keiko Kawashima / flamenco vocals and handclaps

KENSO KEEP GETTING BETTER AND BETTER!

There are several things that clearly distinguish Kenso from other great "instrumental prog" bands. Let me name the most striking ones:

1. Kenso have been active for over a quarter century, always under the leadership of guitarist/synthesizer player Yoshihisa Shimizu.

2. They've released masterpieces in every single decade.

3. All their best albums are graced not only by Shimizu's playing, but also by the contributions of bassist Shunji Saegusa, and not one but TWO virtuoso keyboard players: Kenichi Oguchi and Kenichi Mitsuda. How all these musicians manage to stay alive, I just don't know (apparently Shimizu is a dentist) but they SO obviously play music they love, and without making commercial concessions.

4. Finally, Kenso's music just keeps getting more and more sophisticated, and they don't make concessions to the listener, either.

On Kenso's latest album, UTSUROI YUKU MONO, you WILL hear some catchy melodies (the music has been carefully composed and arranged; I detect little or no improvisation) but these seventeen tracks are extremely changeable in mood, exuberant and quirky - which means you'll need to spin the album at least seven times before you can sing along! The music changes more rapidly and more often than on PFM's classic albums; the extreme variety of tempos and instrumental colours is enough to keep any prog lover happy.

What shall we compare UTSUROI YUKU MONO to? If you're into 1970s prog, just think of the instrumental bits in "Sound Chaser", of A PASSION PLAY, or of Steve Hackett and Rick Wakeman at their most manic, and you're close…

In his sleeve note Shimizu explains he was inspired by Yasunari Kawabata's PALM OF THE HAND STORIES, a well-known collection of more than a hundred brief and poetic prose-sketches, some of which are highly surreal. I don't have the impression Shimizu actually set any of the sketches to music, but he followed Kawabata's lead in flitting from one mood to another so rapidly the listener sometimes needs to catch his breath.

Because of its complexity, UTSUROI YUKU MONO is an album you can happily keep exploring for years, and I'm still finding my way, but let me finish with a few concluding remarks.

(a) Don't get me wrong, not every track here sounds hectic, there are a few beautiful moments of peace and quiet, Shimizu is also a master on acoustic guitar.

(b) Some of the tracks feature 'flamenco singing' by special guest Keiko Kawashima. Her vocals sound totally un-Spanish but they're great fun, and they certainly add welcome warmth to Kenso's sound.

© Although Progarchives labels Kenso's music as jazz-rock/fusion, what you get is definitely NOT jazz-rock in the tradition of Herbie Hancock or Billy Cobham. Kenso enjoy fast, fusion-style riffs (and in Keisuke Komori they have found a brilliant new drummer), but like National Health and 1970s King Crimson they are much more influenced by European concert music than by jazz. There are some moments of (delightful!) mellotron-drenched bombast but (like everything else on the album) these don't last long…

(d) The album is graced by a beautiful cover picture of belly-dancer ISIS Atsumi.

by fuxi

Tracklist:

01. Itamashiki Kaimei (2:30)
02. Anokoro Moby Dick to (4:21)
03. Sokowamaa Sokohakatonaku (2:28)
04..Rhyme-stone in Cotswolds (4:51)
05. Ubud Neiribana Genchou (5:20)
06. Shiduka eno Tobira (3:36)
07. Kodama no Mau Joukei (4:07)
08. A single moment of Life (2:13)
09 GOS (8:05)
10. Wakuwaku Lehigh Valley (3:12)
11. Kowakujima ni Uta wa (5:08)
12. Mitsunawa 6/8 (3:40)
13. Kaze no naka no Fyilin (1:39)
14. Akatsuki ni Gakushi ga (3:06)
15. Codon 1 (1:48)
16. Codon 3 (2:20)
17. Codon 2 (2:33)



Musicians:

Yoshihisa Shimizu / guitars, synths, ethnic instruments
Kenichi Oguchi / organ, synths
Kenichi Mitsuda / piano, accordion, synths
Shunji Saegusa / electric and acoustic bass
Keisuke Komori / drums, V-drums

Guest Musicians:

Keiko Kawashima / Flamenco chanting and clapping
Hiroshi Nambu / rebab




Tracklist CD1:

1. Prelude in Sophia (9:35)
2. Brand Shiko (4:32)
3. La liberte de l'esprit (6:10)
4. Sacred dream (8:47)
5. Arrivederci (6:59)



Tracklist CD2:

1. Umi (8:09)
2. Hyoto (6:32)
3. P.M. (dedicated to Pat Metheny) (6:15)
4. Beginnings (6:43)
5. Anesthesia part II (5:27)
6. Sora ni Hikaru (6:29)
Total Time: 01:17:21



Musicians:

- Kimiyoshi Matsumoto / bass
- Kenichi Oguchi / keyboards
- Toshihiko Sahashi / keyboards
- Yoshihisa Shimizu / guitar
- Haruhiko Yamamoto / drums




Tracklist:

01. The fourth Reich /Gessha Senkoh/ Toki no imi
02. Tsuki no isoh I
03. Miscatonic
04. To Santorini
05. Oia / Kokoro no naka no kodai
06. Brando shiko / Power of the glory / Bifuka
07. Nazomei mori yori
08. Chichukai to Aryajin
09. Hyoto
10. Good days, bad days
11. Umi / Masui part II / The shadow over Innsmouth



Musicians:

- Kenichi Mitsuda / keyboards
- Masayuki Muraishi / drums
- Kenichi Oguchi / keyboards
- Shunji S?gusa / bass
- Yoshihisa Shimizu / guitar

Zaiya live by Kenso is a document of the tour the band underwent after the harder rocking Esoptron release but still having the characteristic signature Kenso sound.

Now, one might think that a band headed by a full time dentist (guitarist Yoshihisa Shimizu is indeed a dentist) might not be all that notable but you would be wrong - the music is dense, complex and has many layers and the soloists are all very capable players. The music

And the Kenso live band attacks the material like pitbulls, lots of verve and energy but also plenty of dynamics - the quiet of From The Mystic Woods has a quiet and pensive feel outlining Kenichi Mitsuda and Kenichi Oguchi's layered polysynths leading to a lyrical bass melody performed by the great Shunji Saegusa who is one of the rare supportive players who when its time to solo he makes a musical statement not just random scales.

Tracks that are favorites are here, Sora Ni Hikaru from the II release, Les Phases De La Lune from Yume No Oka and the wonderful long version of The Ancient in my Brain - high energy workouts with lots of different and interesting chord progressions and Shimizu's guitar is at the forefront with Masayuki Muraishi's excellent high energy drumming adding propulsive heft.

Recording quality is excellent and indeed if this band sounds this way live they would be a must see in your area - in fact, the sounds on this disc seem scarcely believable for a live release - it sounds like a well produced studio album but with two keyboard players all of the studio layering is easily possible for this band.

Although not a great comparison, this release reminds me somewhat of the live bootleg of the swedish Anglagard band at Nearfest because on that release they had three mellotrons live and were able to perform all of their difficult compositions live and also work at extremes in dynamics although the musical context is VERY different.

Highly recommended - four stars from this reviewer. A great introduction to a band that should be more well known.

by aliensporebomb

Tracklist:

01. Gips
02. Sora ni hikaru
03. Hyoto
04. Les phases the la lune
05. Bifuka
06. From the mystic woods
07. Today I left Oia
08. Es
09. The ancient in my brain (long version)
10. Mediterranean and Aryan
11. Good days, bad days
12. The shadow over Innsmouth
13. Zaiya kara no kikan



Musicians:

- Kenichi Mitsuda / keyboards
- Masayuki Muraishi / drums
- Kenichi Oguchi / keyboards
- Shunji S?gusa / bass
- Yoshihisa Shimizu / guitar




Tracklist:

01. The Shadow Over Innsmouth
02. Miskatonic
03. Kojinteki Kikyuu
04. Zaiya Kara No Kikan
05. Release Yourself
06. Shizuka Eno Tobira
07. Sora Ni Hikaru (Shining In The Sky)(live '82)
08. Beginnings (live '83)
09. Turn To Solution (live '85)
10. Les Phases De La Lune 2 (live '92)
11. Alfama (live '92)
12. A Single Moment Of Life
13. Codon 1
14. Codon 2
15. Codon 3






Tracklist:

1. GOS
2. Rhyme-stone in Cotswolds
3. Sira ni Hikaru
4. The Sea
5. Beginnings

1-3 (2008) CLUB CITTA'
4-5 (2011) CLUB CITTA'


Musicians:

Yoshihisa Shimizu - guitar
Kenichi Oguchi - keyboards
Kenichi Mitsuda - keyboards
Shunji Saegusa - bass
Keisuke Komori - drums

Guest Musicians:

Haruhiko Yamamoto - drums









All thanks go to Pasheka-Pacheka