KENSO III

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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!

2.5 stars really!!

One f the longest living group from Japan, Kenso started in the mid-80's along with many of their ultra-symphonic neo like Bellaphon, Gerrard and a few more, with only By Kyo Ran sounding a bit less symphonic and crunchier and later Ars Nova sounding more adventurous. As usual with all of these Japanese second wave groups, Kenso was extremely derivative, forgetting completely their predecessor 70's groundbreaking works (Far Out Family Band, for ex or Yamashta) and concentrated on imitating the 70's Camel or Genesis with the catastrophic instruments of those mid-80's. While I find Kenso's music on this album boring and sometimes limit-laughable, we must think that it hasn't aged well and it is a product of its time.

What to say of the music except that it sounds completely derivative, ultra-symphonic, completely un-original and pretentious. And extremely boring as well. At least for today's ears?. But I guess in the mid-80's, there wasn't much else to lay your ears upon so I can understand some people might regard this highly, because there was nothing else but Japan and the few UK neo-prog groups to give this type of symphonic rock music, Kenso is fronted by a double synth attack and backed by a rarely upfront guitarist, with no vocals (or few, thankfully), an odd flute (Celebration) and an oboe (Nostalghia) and much of their compositions sound all the same bar two slower numbers with a reduced line-up. Don't get me wrong, these five guys are all good musicians and all, but this lacks power and guts?. It's way too slick, over-produced and can lead to understand why some smirk when listening to this, because it's got no life.

Hardly anything even remotely close to essential (or good, but that's IMHO), Kenso's early albums are generally best avoided unless you like a wimp prog of the lean years. And don't just take my word for it?. My trusted colleague reviewer Cesar says that this is their most energetic album so far?. Although I understand this album is generally well regarded by historical fans and that you'll be tempted to acquire it?.. please don't blame me afterwards, I warned you.