Kenso - Albums Collection 1980-2009 [13CD]

KENSO is from Japan. The music combines a Progressive jazz-rock or a Progressive rock mixed with jazz. The emphasis is on performance and improvisation with complex themes, breaks, elaborated developments and arrangements remind HATFIELD AND THE NORTH and BRAND X. The musicianship is excellent.

~ progarchives

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Kenso - Albums Collection 1980-2009 [13CD]

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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 Hil, allmusic

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Kenso - Albums Collection 1980-2009 [13CD]

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Эта японская группа прогрессивного рока была основана в 1974 году Ёшихисой Шимицу. Однако после Шимицу принялся учиться на медика, и вследствие этого группа впала в состояние стагнации. В 1979 году группа вновь взялась за серьёзную работу, и уже в будущем году в свет вышел одноимённый альбом. Всего на момент написания этого текста в дискографии Kenso насчитывается десять студийных альбомов и несколько концертных. В целом стиль группы тяготеет к смеси джаз-фьюжновых форм с симфоническими, при этом в звуковую палитру привносятся и национальные элементы.

~ lastfm

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:

01. Nihon no mugiuta
02. Inei no fue
03. Furiorosareta Yaiba
04. Umi
05. Kagome
06. Buchan no chugæri
Bonus tracks:
07. Umi (live)
08. Hisho no tokimade
09. Shijunsetsu no tabi
10. Kasukanaru shido
11. Harukanaru toki
12. Tabiji

Musicians:

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

GUESTS:
- Masaki Inoue / bass, vocals
- Ichiro Karamatsu / keyboards (1-9)
- Atsushi Makiuchi / keyboards (5-6-7)
- Kazuyuki Morishita / piano (2-4)
- Kumiko Tanabe / vocals (2)
- Yoshiaki Tsukahira / vocals (3-10-11-12)

For the second Kenso album keyboardist Atsushi Makiuchi and bassist Matsumoto Kimiyoshi, who had been guest musicians on the debut, have been promoted to full-time members after the departure of bassist Tanaka Masayuki.The album was simply entitled ''Kenso II'' and was self-released in 1983.

For the first few albums the titles of Kenso's albums definitely lacked fantasy, but the main reason had to be that the band put all this fantasy into the compositions.So, this is again some excellent, frenetic and fiery Prog/Fusion albums with plenty of symphonic interruptions and impressive technique by the members.''Kenso II'' is another tremendous work filled with fascinating interplays and constant battles between the musicians, while here and there the mainly jazzy approach is supported by slight doses of Classical breaks and symphonic sections, driven by Makiuchi's deep keyboards and Yajima Shiro's high class flute-lines.The overall style recalls the best of FOCUS, AIN SOPH or FINCH, but noone can accuse Kenso for lacking identity, their music has this virtuosic Japanese touch, offered by this underrated Prog scene.The atmosphere delivered is full of dramatic passages and melodic solos with a top-notch rhythm section accompanying Shimizu Yoshihisa's Fusion-like guitars and the endless themes of the keyboard and flute players.

Yet another impressive work by Kenso.Adventurous, intricate and technical Symphonic/Fusion all the way.No less than highly recommended, especially if you find the CD reissues with the bonus tracks.

by psarros

Tracklist:

1.Sora ni hikaru (Shining in the Sky)
2.Anesthesia part 1
3.Anesthesia part 2
4.Hyoto (Frozen Island)
5.Brand shikou (Brand IX)
6.Harukanaru chi e (Toward the Land Beyond)
7.Naibu e no tsukikage (Moon Casting Shadows Within)
8.Sayonara progre (Arrivederci: Goodbye Prog)
Bonus Live Tracks:
9.Power of the Glory
10.Four Holes in the Ground

Musicians:

Yoshihisa Shimizu: guitars, keyboards
Atsushi Makiuchi: keyboards
Shiro Yajima: flute
Kimiyoshi Matsumoto: bass
Haruhiko Yamamoto: drums

Guests:
Masayuki Tanaka: woodwind
Sachiko Miyashita: vocals
Naoko Shimogaito: vocals

I listened from this Japanese band so far only this album and Kenso III, which is the better one of the two. According to their webpage their second one and Yume no Oka are supposed to be their strongest ones. I still have to try to get those ones. Still they're offering here some great symphonic Jazz fusion with twin keyboards and it's a very enjoyable listen.

The album opens with Good days, bad days, initially a rather mellow and dreamy piece which is shifting after 2 1/2 minutes to a more up-tempo theme. Not really a bad one with many tempo shifts. Bifuka has a very short acoustic intro with guitar and flute sound, then the track is floating along quite nicely with many theme changes. In The stone of the golden hair village the sound changes quite significantly and one can hear clearly that there is a different line-up playing now. The drums are sounding more aggressive and less dampened. Shunji Sægusa is presenting quite a good bass play in replacement for Matsumoto. In fact this is really not a bad one, but as well not very exciting, nice one for letting it run in the background.

by hdfisch

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 Sægusa / 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:

1. Tsuki ni Isoh I (5:33)
2. Toki no Imi (5:06)
3. Nazomeita Mori Yori (4:38)
4. Oia (1:36)
5. Kokoro no Naka no Kodai (5:13)
6. Fuan na Kioku (2:24)
7. Chichukai to Aryajin (5:16)
8. Oia o Satta hi (0:46)
9. 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 Sægusa / bass
- Yoshihisa Shimizu / guitar, keyboards

If anyone EVER says to you that prog has no soul, strap them into a chair and play them this album. Balls to the wall energy from start to finish - even on Flairck's Prelude in Sofia. Masui sounds like it's going to explode. The performances are from little clubs, but the sound is clean, if sometimes reverby. If there is one criticism, it is of conservatism - unlike Live 92, there is little attempt to extemporise from the album templates, althought Sofia does develop a lovely groove, and there's real guts in the playing. Aside of that, just mind- blowing.

by Paul Stump

Tracklist:

1. Umi (5:48)
2. Inei no fue (5:24)
3. Nihon no mugiuta (6:07)
4. Prelude in Sophia (7:43)
5. Brand shiko (4:25)
6. Masui pt.2 (5:05)
7. Hyoto (6:25)
8. Sora ni hikaru (6:42)

Musicians:

- Atsushi Makiuchi / keyboards (1st solo on 4)
- Kimiyoshi Matsumoto / bass
- Yoshihisa Shimizu / guitar, CP-80 on 7
- Haruhiko Yamamoto / drums

GUESTS:
- Kazuyuki Morishita / keyboards (1-2)
- Toshihiko Sahashi / keyboards (4-8)(2nd solo on 4)
- Shiro Yajima / flute (1-2-3-7)







Tracklist:

1. Les phases de la lune
2. Beginnings
3. Bifuka
4. Inei no fue
5. Umi
6. Nihon no mugiuta
7. Hyoto
8. Arivederci
9. Sora ni hikasu
10. Nihon no haru
11. Sora ni hikasu

Musicians:

- Atsushi Makiuchi / keyboards (4 to 10)
- Kimiyoshi Matsumoto / bass (4 to 9)
- Kazuyuki Morishita / keyboards (4 to 9)
- Masayuki Muraishi / drums (1-2-3-11)
- Kenichi Oguchi / keyboards (1-2-3-11)
- Shunji Sægusa / bass (1-2-3-11)
- Toshihiko Sahashi / keyboards (1-2-3-11)
- Yoshihisa Shimizu / guitar (all)
- Masayuki Tanaka / bass (10)
- Shiro Yajima / flute (4 to 10)
- Haruhiko Yamamoto / drums (4 to 9)

If you like instrumental symphonic prog (particularly Genesis' "Los Endos") or progressive fusion as played by Bruford (ONE OF A KIND), National Health and Brand X, and if you wish there were much more, then Kenso's the right band for you!

Kenso are a Japanese band who build upon the above-mentioned styles, but only in order to do their Very Own Thing. I'll gladly go even further and point out they're one of the most convincing prog bands to emerge since the 1980s. In my view, their (instrumental) albums are far more interesting than anything Spock's Beard or The Flower Kings have ever done. The only reason for their relative obscurity must be that they are leading fairly reclusive lives in faraway Japan. If I'm not mistaken, their leader (and main composer), Yoshihisa Shimizu, is a dentist.

by fuxi

Tracklist:

01. The Ofuner (0:38)
02. Alfama (2:07)
03. Sora ni Hikaru (6:32)
04. Gesshya Senkoh (4:39)
05. Hyoto (3:59)
06. The Sea (6:32)
07. Sacred Dream (5:10)
08. Beginnings (6:28)
09. Today I left OIA (4:30)
10. The ancient in my brain (7:16)
11. Mediterranean and Aryan (10:07)
12. Les phases de la lune II (2:58)
13. Power of the Glory (2:00)
14. Anesthesia part II (4:45)
15. Gips (4:01)

Musicians:

- Kenichi Mitsuda / keyboards
- Masayuki Muraishi / drums
- Kenichi Oguchi / keyboards
- Shunji Sægusa / bass
- Yoshihisa Shimizu / guitar

"Esoptron" opens with what KENSO has become an underground prog icon for… complex yet controlled guitar driven fusion prog jam sessions. In fact I would say that opening track "Kojinteki Kikyu" sounds like a progressive LED ZEPPELIN! Those unfamiliar with KENSO are in for quite a shock… These lads change their pitch and musical disposition faster than fast. KENSO delivers ever changing complex rhythmic patters and scrumptious virtuosic solos. Leader Yoshihisa Shimizu's guitar skills are simply killer and manages to pump out tons of ear dazzling solos very reminiscent of Robert FRIPP's dual keyboards add some great character to this album hitting everything from EMERSON to Mark Kelly in styles. "Esoptron" is a n all instrumental album of high caliber.

by loserboy

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







Tracklist:

1. Orugan sousya no higeki (Tragedy Of The Organist)
2. Sasurai no atai (The Price Of Wandering)
3. Furiorosareta yaiba (The Blade Strikes Down)
4. Maybe I dream on
5. Sunshine again
6. Hakaba heto mukau ashi (Footsteps To The Graveyard)
7. Kasukararu shido (A Faint Start)
8. Gourakumi iketara (If I Could Go To The Paradise)

Musicians:

- Akira Ninomiya / drums
- Toru Ohya / keyboards
- Yoshihisa Shimizu / guitar, keyboards
- Masayuki Tanaka / bass
- Yoshiyaki Tsukahisa / vocals

Progressive Rock as a Familiar Form of Music

Progressive rock is quite familiar to Yoshihisa Shimizu, who mentions Yes, Gentle Giant, PFM, and Banco as some of his favorite bands. While these are all big names who played a foundational role in creating what is now considered progressive rock, what makes the music of these bands sound progressive? Do these musicians consciously create their music with the genre in mind? Moreover, why is it that certain music is heard as "new" to us?
In Yesy e ars, a video anthology of Yes, Bill Bruford states, "My love was jazz, and I thought I was joining a jazz group called Yes. I didn't realize I was joining what was to become a rock group, you know, that was fine…. I was going to play jazz drums…. let it not be said that Yes is nothing if not multicultural and multiethnic." Also, in the self-penned liner notes of PFM's 10 Anni Live, Franz DiCioccio repeatedly mentions that what PFM aimed at achieving was not the music for the masses, as producers of the '60s favored, but the music that would satisfy the desire of the members to express themselves. This enthusiasm was what drove PFM toward novel and diverse musical expression.These testimonials from the musicians themselves are very interesting in understanding the nature of progressive rock.
The enjoyment of music is to catch a glimpse of fictitious worlds that may not otherwise exist, much the same way as in fine arts and literature, and to give shape to an imaginary entity as something that can be actually heard and experienced. In this context there is an urge to transform images into a concrete form, and for that there is a need to create and refine various techniques. In a telephone conversation a while ago, Yoshihisa Shimizu mentioned of the impression of a concert by a Romanian gypsy band Taraf de Haidouks that he attended, which was told in the language of a fresh sense of wonder and a joy of discovering new music. For those who are accustomed to the musical expression of the West, which is largely popularized and accepted, when met with different musical approaches from other regions, inevitably a sense of fear, anxiety and curiosity toward foreign matter will arise. But when an element of enjoyment is found in the music — be it rhythm or melody that is favored — those senses, through contrast or sympathy, turn respectively into a sense of wonder and intimacy, and collectively into excitement. What is important is the joy of the tacit sentiment and external experience coming through sensory organs being in concert, and needless to say it brings more enjoyment to exercise conscious effort to seek such enjoyment. The evidence is that there are many progressive rock fans who look for new possibilities of musical expression in the farthest corner of the world.
Additionally, in the same manner as surrealism established itself by the distance from the criteria of conventional expression, progressive rock finds its ground in the distance from conventional pop music. In this manner, the act of proactively searching for objects to reflect self-expression is synonymous to seeking intimacy. Therefore, at the risk of seeming paradoxical, let it be said that progressive rock is ultimately a form of music that is best found in personal proximity. This seems to explain the fact that the music Kenso plays, while holding an unparalleled originality, invokes a certain sense of familiarity in the listener. The songs also feature melodies that leave them humming. And in the end, the blending of these elements serves as proof that Kenso is definitely a progressive band.
Unpopularized Originality
As is the case with all forms of art, rock music seems to follow the circular movement of creation, acceptance, popularization, rediscovery and reconstruction. This applies to both the music scene as a whole and also individual bands such as EL&P and King Crimson — or the aforementioned Yes and PFM. That is to say a series of initial works define the original style of expression, followed by its eventual acceptance. Then, as the masses catch up with the style, it is transformed into a popularized mode of expression, but later the originality of the initial stage is rediscovered and the style is reconstructed from an altered point of view. This tendency is obvious with most bands whose career spans over 20 years, however it is worth noting that Kenso, with a 25-year history, has not followed this pattern.
In short, Kenso has experienced the phase of acceptance, but not that of popularization. One reason may be that Kenso never benefited from large-scale commercial promotion — but it seems to better explain that the band has repeatedly gone through cycles during the long intervals between albums. To examine the studio albums in their release year: Kenso ['80], Kenso II ]'82], Kenso (3) ['85], Sparta ['89], Yume no Oka ['91], and Esoptron ['99] - they were released almost too
sparsely over the past 20 years. It may be more than reasonable to think that, during these long intervals, the members would, with reflection and self-criticism, go through the popularization phase as well as rediscovery and reconstruction based on the previous release. This consideration may well be the reason that each of Kenso's albums does not suffer from manneristic continuation but stands alone in its own essence of originality.
World of Music with a Geometric Mind
Before discussing the appeal of Kenso's music, it is beneficial to draw quotes from commentary titled "Let there be a more geometric mind" by Tatsuhiko Shibusawa, a renowned researcher of fantasy literature and a prominent writer, for the first fantasy literature talent competition: "….There seems to be many people who believe that writing something with a dreamy atmosphere makes a fantasy novel. I wish to say, 'let there be a more geometric mind!' I want all to know that a fantasy novel is nothing unless description is made to the detail with clear lines and contour." Also, for the second competition he continues as follows: "Geometric mind may be transcribed as logic and construction. It is not a fantasy novel or anything to write about a man and a woman wandering about in an ambiguous, cloudy atmosphere. There must be a clear singular plot throughout the story, and the parts and the whole must be in support of each other systematically. "
When the literal notion of these texts is taken in a musical context, the commentary provides an ideal description of the appeal of Kenso's music. That is to say, theme and variations interact with each other in changing rhythms to reveal a totality-while the melodies, harmony and rhythms are presented in exquisite detail and augment each other in a self-revealing manner. What is found here is not a sonic atmosphere supported by a drone, but a true world of geometric music composed of a group of explicit sounds.
When the Images Materialize: 25th Anniversary Live
What we have here is a CD with a fine selection of songs from the 25th-anniversary live show in Tokyo that took place on April 30th The selection represents the best of Kenso "Umi"("Sea")/"Anesthesia part 2"/"Hyoto"("Frozen Island")/"Sora ni hikaru"("Shining in the Sky")/"Beginnings"/"Arrivederci"/"Festivity"/"Gips"/"Negaikanaeru Kodomo wo Tsureteyukou"("Let's Take Along the Children Who Make the Wishes Come True")/"Les Phases de la Lune II"/"The Ancient in My Brain"/"Zaiya kara no Kikan" ("The Return from Zaiya"["Zaiya" is a word associated with the state of being out of political power])/"Bifuka ~ Good Days, Bad Days". Kenso's geometric musical expression is evidently present in this recording, especially as a live performance devoid of ambiguity. The musical pieces are driven toward a material form that is meant to be experienced by the entire faculties. That may go without saying for those who were present at the concert But for those who weren't, this album is probably the best way to experience the excitement - and for those who were fortunate enough to attend, a precious opportunity to revisit the experience.
Later in this last year of the 20th century, Kenso will make their first appearance outside of Japan - in Los Angeles May this be an opportunity for many to witness those amazing images materialize in front of their eyes.

~ Tatsurou Ueda

Tracklist:

1. Umi
2. Masui part 2
3. Hyoto
4. Sorani hikasu
5. Beginnings
6. Sayonara Progre
7. Ikase sukusai
8. Gips
9. Negai kanæru kodomo no tsureteiko
10. Les phases de la lune II
11. The ancient in my brain
12. Zaia kara no kikan
13. Bifuka
14. Good days, bad days

Musicians:

- Keizo Kawano / keyboards (1 to 6)
- Kimiyoshi Matsumoto / bass (1 to 6)
- Kenichi Mitsuda / keyboards (9 to 14)
- Masayuki Muraishi / drums (7 to 14)
- Kenichi Oguchi / keyboards (all)
- Shunji Sægusa / bass (7 to 14)
- Yoshihisa Shimizu / guitar (all)
- Haruhiko Yamamoto / drums (1 to 6, 14)

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:

1. Fist of Fury (5:10)
2. The Cunning Madrigal (4:20)
3. Prelude to Concealment (2:23)
4. Wooden Horse Pathos (3:57)
5. The Split Gate (6:57)
6. Rebellion (4:04)
7. The Stairs for Dreaming (2:27)
8. Echoes From Romano (5:27)
9. 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:
- Keiko Kawashima / flamenco vocals and handclaps







Tracklist:

1. Itamashiki Kaimei (2:30)
2. Anokoro Moby Dick to (4:21)
3. Sokowamaa Sokohakatonaku (2:28)
4..Rhyme-stone in Cotswolds (4:51)
5. Ubud Neiribana Genchou (5:20)
6. Shiduka eno Tobira (3:36)
7. Kodama no Mau Joukei (4:07)
8. A single moment of Life (2:13)
9 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

Guests:
Keiko Kawashima / Flamenco chanting and clapping
Hiroshi Nambu / rebab







Tracklist:

1. Good Days, Bad Days
2. BIFUKA
3. The Stone of Golden Hair Village
4. MISKATONIC
5. PM
6. GESSHYA SENKOH
7. The Shadow over Innsmounth
8. Neuro - Psychoma
Bonus Tracks:
9. BIFUKA_naked <Piano version>
10. Good Days, Bad Days <2008 Live Version>

Musicians:

Yoshihisa Shimizu (gt)
Haruhiko Yamamoto (ds)
Kimiyoshi Matsumoto (bs)
Toshihiko Sahashi (key)
Kenichi Oguci (key)
Masayuki Muraishi (ds)
Shunji Saegusa (bs)
Kenichi Mitsuda (key)
Keisuke Komori (ds)




All thanks go to tatuk, erro, hamatai and novox