AIN SOPH

Competent Japanese soft fusion band's third album is kind of compilation. Almost every song there was released before on early band's albums, but for this album all compositions were re-arranged and re-recorded.

Music there is light, well balanced and strongly influenced by Camel sound. Ain Soph always openly showed their influences (their previous albums were named "Hat And Field" and "Ride On A Camel"), and there they put all things together. If Canterbury (or "Hatfield and North") influence is not so obvious, melodic soft symphonic prog (or "Camel") is presented there in whole. You can even find there some heavier guitar soloing (in few places)!

Will you like this music or not mostly depends on your taste. Melodic, professionally played ,good arranged, symphonic fusion of this album is a pleasant listening. Just don't expect too much of originality or new ideas (better don't expect at all). Just enjoy the music.

My rating - 3+.

Ain Soph's first attempt to write progressive rock music is far greater than many of the bands of this genre. It's like they knew the magic recipe for great compositions.But it isn't only the composition it self but the great musicianship and ability that makes this record truly shine! The keys are exceptional, from the ideas to the sound selection.The trebly bass has some great basslines many times going along with the melodies of the keys. The album kicks in with a very fast fusion type of song, which short lasting but shows the abilities of the players in jazz paths.I really like the album beginning this way, but it's not an actual song.The actual album ''begins'' with the interlude part one,an acoustic greatness and ends with interlude part two being somewhat similar. Personally i love this. So the main songs are just three. Natural Selection starts of very melodically with some ''funny'' themes, then it goes on with some jazz piano and solo, then it heads off in jazz standards changing between one theme and back to standards.it then continues like a fusion type with a great keyboard and guitar solo and it ends with the beginning theme. Variations on a theme starts with an amazing classical piano solo then very powerful with latin influences, and a flamengo guitar solo,follwed after by a intelligent keyboard solo and then guitar solo over a 4/4,7/8 repetitive rhythmic and it closes with some amazing mellotron sounds and a beautifull piano outro.A story of mysterious forest brings me images of a land beyond our imagination, fairy tale like music, and the action starts on the 3d minute with fast drumming and blistering keyboards, which comes again as a reprise in the end.I Love when this happens. In the middle it gets really low and atmospheric passages from guitar and mellotron chords till the 14th minute when the adventure in the magial forest begins again in a very playfull 7/8 time signature.And what a better way to end this with a reprise of an earlier melody. With many tempo and time signature swings, slow parts and very powerful ones, raging guitars, mellotron passages, playful themes and great musicianship in overall this album has it all! All one true progressive rock fan would want to hear. Highly recommended.

This Ain Soph is recognized as a band generally located in the highest peak between fans of Prog Rock for the music of Japan where I live. It is in the element with width very wide in which the Music's genre cannot be specified for a charm of their music. Of course, the technology of their performances might project in the music that exists in Japan.

The history of their music goes back in the early the 70's. The activity of guitar player's Yozo Yamamoto had the flow of the blues and the lock as a band leader. The element originated the edge in the band that was called "Tenchi-Souzou" ,in a word, "Creation" in the 70's. The musician from whom they had gotten acquainted in student's age had already had a high- quality element for the technology and the knowledge of music.

They have renamed the name of the band to "Ain Soph" in 1977. And, it changes radically and the band begins the production of this debut album though they were facing the state of the dissolution of the band in 1979.

The band with the technology like them guesses that it did not exist so much in Japan though they at that time had gone well in live to some degree. There might have been time when a few in was necessary by the time the existence was accepted by the spectator, too.

However, it is guessed that the music at which they had been aiming at that time obviously included music , for example, Canterbury and Jazz Rock. When this album is announced, it is said that the listener showed puzzled to the fixation of the genre a little because it was specified.

They in debut CD were and there was power in the shown performance. Elements such as Canterbury and Jazz Rock might be taken without remaining and all of them be included in this album that works enough in the masterpiece.

Fascinating album, but not the masterpiece some make it out to be. The wonderful "A-side" (tracks 1 - 4) is high-octane symphonic jazz-rock, strongly reminiscent of early Brand X at their best, with frenetic lead guitar and drums which bring to mind the interplay of Phil Collins and John Goodsall. However, there are also some weird and dopey synth intermezzos, and at least one cadenza on grand piano which is straight out of ELP's TRILOGY. If the original B-side (tracks 5 and 6) were just as good, I would award this album at least four stars (we've got few enough first-rate Brand X albums to listen to as things stand!) but unfortunately the 18+ minute title track is shapeless, sleep-inducing and all over the place: the kind of slow, stately and ballad-like symfo-pap which (by 1980) had been milked to death by Camel and Pink Floyd. There's one fiery but all too brief guitar solo, loads of disappointing tempo changes, some totally superfluous harpsichord (I adore the harpsichord, but you've got to DO something with it) and no climax worth speaking of. Some bonus points for the album's title (which native speakers of English would never come up with) and for the excellent cover art by the obscure Art Nouveau painter Karel Masek Viteslav.

4.5 stars.What a fantastic album this is! Released in 1980 AIN SOPH's debut features jazz,canterbury,fusion and symphonic offerings with a liberal heaping of mellotron on a couple of tracks. "Crossfire" is an uptempo blend of jazz and canterbury with some firey fusion as well.The guitar and keys really rip it up.I have to mention the drumming as well,and the fast paced bass lines.Speed of light guitar and keys 2 minutes in. "Interlude I" is a short acoustic guitar piece that is quite intricate.I like it a lot. "Natural Selection" starts softly but a full jazz sound with chunky bass arrives before a minute.This is a relaxed mid paced tune until the tempo shifts back and forth dramatically starting at 3 1/2 minutes.This is followed by liquid keys and fat bass lines,then guitar joins in until that mid paced section from earlier returns. "Variations On A Theme By Brian Smith" opens with a splendid piano solo.It turns jazzy quickly though with some nice drum work.Spanish styled guitar 2 1/2 minutes in.A calm 4 1/2 minutes in and a new melody comes out of it.This section is more reserved and canterbury, but the keys,drums and bass shine.Great passage.Guitar and mellotron 7 minutes in.Incredible! The guitar is fantastic.Mellotron returns 9 minutes in.It ends as it began with piano. "A Story Of Mysterious Forest" is mostly symphonic and features lots of synths and organ early.GENESIS-like 2 minutes in.It kicks into gear 4 minutes in.A calm after 5 1/2 minutes as Gilmour-like guitar(not soaring) comes in.It kicks back in around 7 1/2 minutes as the guitar continues to lead the way.Amazing section. Mellotron takes over as the guitar stops.Nice.The guitar returns before 10 minutes and lights it up as the mellotron flows.A calm after 11 minutes.Organ 13 minutes floats in.It's still calm.Suddenly it kicks back in after 14 minutes.It settles with harpsichord 15 1/2 minutes in,then the organ joins in too.A total change before 17 minutes as a CAMEL flavoured melody arrives. "Interlude II" is the same as the first one with acoustic guitar melodies. When ZAO played live in Japan on their reunion tour in 2004,it was AIN SOPH who opened for them.I would have given my left arm to see that show.

Love at first Feel

This is one of those opportunities when an album clicks on you just by hearing the first note on it.If you are a fan of jazz fusion and the late Canterbury Scene , then this is the real deal for you.Ain Soph are a japanese cult band that did not release many albums , however the few they released were absolutely stunning.If I were to find a way to describe the album sound it may be usefuf to say that this is a mixture between The Rotter's Club and National Health debut album.

Yet , this description falls short.The music is crafted with so much precission that it's possible for you to feel overwhelmed by this fact.However guitarist Yozox plays some of the most emotional notes ever played on a six string , and when I say emotional I mean: David Gilmour , Steve Rothery or the Derek and the Dominos Clapton phase.Just hear to the opening track The swan lake and you will understand what I say.

Yozox ain't the only virtuoso on the list , Bassist Nasashiro Tokigaki and drummer Taiqui manage to deliver a fine performance on the record , mainly on the 10 minute title track and the colsing track Pipe Dream

I am not giving this hidden gem the same rating as Brain Salad Surgery for no reason , this may be one of my best adquisiitions in my neverending musical journey.Having heard this group , I started to get albums by japanese artists like Kenso , Kazumi Watanabe , Gerard and Hiromi but I am searchng for more! It's just that japanese mucisians seem to have something with jazz , the way they interpret it leaves me in awe.

A very reccommended album if you are a jazz fusion fan like me.

— First review of this album —

This first release by Japanese band Ain Soph since the mid 90's is an interesting affair; at least for fans of this group.

7 tracks recorded in the 80's and one recorded in 2005, all of them live in the studio, will always add new dimensions to tunes familiar to the band's followers. And that the new recording is a new song will of course be of high interest for any fan.

The old numbers performed here comes as fusion in style, heavily spiced with symphonic keyboard layers very much like Camel in style. Some folk influences are to be found too, but the fusion style and symphonic additions are the dominating elements here.

The new tune takes on a more distinct fusion style; the keyboards on this tune underscoring the tune rather than dominating; the symphonic keyboard layers for the most part replaced with saxophone in the soundscape.

The tunes as such doesn't come across as very interesting though. Too repetitive for my personal taste, and lacking in nerve and tension. Still, fans of early Camel may find this release interesting, as well as fans of symphonic rock from the 70's in general. In particular those of them also listening to fusion, as well as appreciating skilled musicianship.

After a highly promising and impressive debut, Ain Soph seemed to me like one of the most promising Jazz-Rock bands from Japan in the early 80's. This second offering, however, goes in different directions than before.

While their debut album is a progressive jazz rollercoaster with plenty of technical and compositional competence, "Hat and Field" is calmer, easier to digest and warmer than it's predecessor. It still have the symphonic and canterbury-ish elements from their debut, only that this time they're presented more gently in the songs, and the compositions are far more relaxing and less demanding to listen to. The only problem with this is that the songs seems duller, less interesting and lacks the fire that the band provided for their debut this time. This makes the album a bit uneven, and even boring at times, but it's still enjoyable although not as remarkable as I wanted it to be. It tries hard, but doesn't quite make it, to say it with other words. The songs are melodic but not nearly as thrilling as they could be, but this still is a good album generally, and a good handful of the songs are actually quite good. The musicianship is very good and the production is clear and warm enough to provide all the music nicely througout and adds an extra plus to this (slightly disappointing) album.

This album is a good follow-up to their debut, although quite different. It's a good bet if you are interested in this band, or if you think their debut is a bit too much. If you like jazzy, melodic and solid prog then give this one a try. If you already are in love with their debut, you might get a bit disappointed (as I did) but it still deserves 3.5/5.

Well, ever since hearing the PA sample from this album for the first time Ain Soph was one of my most anticipated bands around. After finally hearing this album, I can surely say it was worth the wait!

Ain Soph is one of the finest Jazz-Rock bands heading from Japan. Their music is very jazzy, but also quite symphonic in the spirit of the classic progressive rock bands such as Genesis, Yes, ELP and the likes. Floating and melodic songs alà Return to Forever or Camel with plenty of tight and great musicianship that is impressive, and luckily not too showy. Although the technical skills of the musicians is heavily dominating the first track, "Crossfire", the other songs are less rapid and focuses more on style and structure, while still being technically impressive. The songs are long, but has plenty to offer and creates different moods within each section of them very well, leaving the listener satisfyed during these 40-minutes without being too overloaded. The production is very good, and I really like the sound of the instruments. The piano and synths are very clear and the drums are clear but still very powerful and effective to the songs.

The title track is a 18-minute journey with strong Pink Floyd elements that harkens back the the Meddle days immediately, complete with a Gilmour-esque guitar solo and same spacey backing music. Although being very good overall, it isn't as good musically as the other pieces on the album unfortunately. If it had been better, this one would have been a 5 star album easily, but this is still a very solid and adventurous album with lot's of potential!

Anyways, based on all this, you should pick this one up if you like melodic Jazz-Rock in the more symphonic prog vein. Fans of Kenso and RTF especially. 4.5/5

Apparently this album was a demo of early album tracks that became a sort of melting pot mixing different 70's sessions. Definitely inspired on the softer symphonic Canterbury such as Camel, these sessions predates their debut album, recorded while called Techni-Sozo and while not completely devoid of interest, this only draws yawns from the listener past the first track. Yes, although this album could be interesting if correctly recorded, it is difficult to listen to this compilation filled up to the brim, with some really boring moments (the suite that stands as track number 2), while others are actually fairly nice: the opening title track and the Oddessa track are quite interesting even if they appear unnecessarily elongated. Other parts (like Aria) appear to have been lifted from Camel

One of the main flaws of this "album" is its length, but also apart of the short Turkey, all of the tracks are well above the 10-min mark, culminating in the Mysterious Forest first version, which is the epic of their first real album, but this version is somniferous. Obviously if you are an Ain Soph fan, this album might just be essential.

BTW, since these infos are not yet present on our site, I might as well relate that there are links with Bellaphon with their keyboardist leving for that group during Ain Soph's lengthy lay-off period in the 80's.