MR. SIRIUS

Japan's MR SIRIUS was a group of prog stalwarts determined to swim upstream in a decade that rewarded conformity and musical simplification over experimentation. The band showcased the true spirit of musical freedom with two innovative albums that kept prog relevant in an era where it was significantly dimisnished. Masterminded by the multi-instrumentalist Kazuhiro Miyatake, MR SIRIUS was a trio formed in Osaka and featured Miyatake (aka Mr Sirius) on flute, guitars, keyboards, mellotron, sythesizers, bass and accordion along with grand pianist / vocalist Lisa Ohki and percussionist Chihiro Fujioka. Together this trio launched two well respected albums in the late 80s and early 90s before the official prog revival movement really kicked off. Who knows. Maybe they even helped inspire it! Miyatake actually began his prog journey early on in the 80s in symphonic prog bands such as Mugen and Pageant.

MR SIRIUS' first release BARREN DREAM emerged in 1987 in perhaps one of the years least friendly to progressive acts however in the middle of the BARREN desert called the 80s lay a veritable DREAM to rekindle all those classic sounds that made the 70s so magical. Long associated with England's Canterbury jazz scene, MR SIRIUS was a bit more eclectic than performing a mere tribute to Hatfield & The North or National Health and rather crafted an extremely unique style that was just as much about classic Genesis, the 70s Italian symphonic prog scene and the classical leanings of French composer Gabriel Fauré as it was about Canterbury jazz.

This album is indeed dreamy and features six bonafide prog workouts with the opening and closing tracks (and middle track "Eternal Jealousy") consisting of multiple suites and thematic developments. While officially a trio, three guest musicians added extra layers of guitar, piano and mini-moog. Showing no traces of its Japanese origins musically speaking, MR SIRIUS sounded like a true anomaly of European prog emerging in the most unlikely of times. The music is extremely soft and pastoral led by piano, acoustic guitars and a bit of jazz complexities. Musically speaking the album sounds a lot like Anthony Philips with a bunch of friends joining in however the trio's distinct sound lies not in its pastoral symphonic prog approach but rather by the excellent feminine vocal charm of lead singer Hirako Ohki (aka Hiroko Nagai). Lyrics while mostly presented in English did find a few moments in the Japanese language. At times the album even sounds like an opera.

While comparisons have been made to the album sounding like a hybrid between The Enid's "Aerie Faerie Nonsense" and Camel's "Snow Goose," MR SIRIUS defies comparisons due to its ability to shape shift into multiple musical areas seemingly at the drop of a hat. While one moment the band evokes a soft mellowness reminiscent of Genesis' most placid moments, the band has no problem breaking into demanding musical territory that explores knotty angularities and crazy instrumental interplay that is up to par with the best of the best as far as musical complexities are concerned. The addition of guitar sweeps and sensual flute runs remind me a bit of early Focus however the knotty more rock oriented parts sound utterly unique to the band itself with exquisite syncopated idiosyncrasies.

In many ways despite the band's European flavors in every form, the album does make you think of one of those beautiful paintings of Mt Fuji in the springtime with all the fruit trees in blossom. It's a breezy light affair with the occasional eruption into the knottier adventurism of avant-prog but for the most part is dominated by the sensual vocalizations of Nagai and lush acoustic passages in full pastoral mode. Overall this album ranks as one of Japan's most interesting contributions to the world of progressive rock as it stands the test of time for its unique approach of amalgamating so many disparate styles while preserving its own identity. The band would release one more album, "Dirge" and then disappeared ironically before the whole prog world seemed to resurrect from its cryogenic time out. An eclectic mix of prog styles that will surely please Canterbury fans but BARREN DREAM is so much more.

3.5 stars. A step up in every way from the second album "Dirge" but I still have problems enjoying this one other than that incredible 12 minute opener called "AllThe Fallen People" but even on this one I have issues. This band is a trio with multi instrumentalist Kazuhiro Miyatake playing flute, guitar, synths, bass, accordion, mellotron and keyboards. His alias is Mr. Sirius. Lisa is almost all vocals here with some piano while we also get a drummer. Three guests including two guitarists playing on one song each and mini-moog on one track from another musician.

I'm going to get hate mail for this one but this just isn't an album I enjoy other than the opener. The opener repeats themes and has a very good bass section. Quite a lot of vocals along with flute, accordion and piano. Two things that are prominent on this album that I have a hard time with are those orchestral sounds generated through his keyboards. He also has a sampler and a synth called a "super orchestra". Anyway I wish he'd ditched that and used his mellotron samples in those sections. Lisa has a great voice but I'm not into them most of the time. So sugary and sometimes almost operatic. Like a Broadway singer you could say. So yeah she can sing. Very much an up and down record for me and one I can't in good conscience give 4 stars to. No this is not Canterbury.

After 1987's amazing and surprising debut, "Barren Dream," Kazuhiro Miyatake comes back for a 1990 follow up--and he brings back extraordinary mezzo soprano vocalist Hiroko Nagai and drummer Chihiro Fujioka with him. It is a solid and worthy followup if not quite as surprisingly fresh as the debut--which seemed to come out of nowhere with it's pristine sound, sophisticated compositions, and virtuosic performances.

As previous reviewers have remarked, the heavier, more intricate sections of the compositions sound much like country mates KENSO and AIN SOPH, while the more pastoral passages feel close to the stylings of ex-GENESIS soloists, ANT PHILLIPS and STEVE HACKETT, while the vocal passages feel forceful and dramatic enough to fit on the stages of Broadway or London's West End. The complexity of vocal symphonic passages are quite reminiscent of Keith EMERSON as well as jazz musicians like MANHATTAN TRANSFER and today's MOETAR.

1. "Fanfare - Legal Dance" (3:28) this instrumental starts out with a beautiful pastoral soundscape before exploding into a breakneck speed jazz-rock piece of multi-virtuosity. Only lacking melodic engagement. (8.75/10)

2. "Love Incomplete" (7:52) full on prog dynamism moving effortlessly between bombast and classical pastoralism with the lovely voice of Hiroko Nagai gracing the top (this time singing in Japanese). Great sound engineering and balancing with great instrumental interplay by all band members. (13.5/15)

3. "A Land Dirge" (3:14) classical guitar with flute. This I like. Very ANT PHILLIPS-like. (10/10)

4. "Super Joker" (5:44) high-powered and fast-paced jazz-rock fusion in the vein of BRUFORD, KENSO, or even JEAN-LUC PONTY. The vocals remind me more of the vocal stylings of INNER EAR BRIGADE or MOETAR leads Melody Ferris or Moorea Dickason, respectively. Great talent but I'm not always enamored of their MANHATTAN TRANSFER-like melodic sensibilities. (8.75/10)

5. "A Sea Dirge" (4.38) synth strings and solo flute give the opening of this one a kind of ERIK SATIE feel. Nice but nothing so special--nothign to write home about. (Those old synth strings sounds no longer stand up to the high quality sounds captured and delivered by 21st Century keyboards.) (8.5/10)

6. "The Nile for A While" (21:29) (36.5/40) .. a) Chase of infinity .. b) Home forgotten .. c) Dual sight .. d) Colony .. e) Bliss for a day .. f) Beyond the glory

7. "Requiem" (3:50) synth strings and orchestra with Lisa Ohki singing in English. Nicely mixed. Beautiful performance by Ms. Ohki. Love the addition of the church organ in the second half. (9.25/10)

Total Time: 50:15

A-/five stars; a minor masterpiece of progressive rock music. Though not as stunning or perfect as its predecessor, this is still deserving of five stars for its stellar performances and compositional acumen.

WARNING: This is NOT a Canterbury Scene album. Nor is it facsimile of Canterbury style music. It is a representation of an eclectic array of many styles that were explored in Progressive Rock music between 1966 and 1986, including (in fairly equal proportions) Symphonic, Jazz-Rock Fusion, Canterbury, and Neo Prog. This is the remarkable and, in fact, quite extraordinary debut album from Japanese artist/composer/multi-instrumentalist Kazuhiro Miyatake. He is joined by brilliant recruits, Lisa Ohki, a mezzo soprano vocalist and classically-trained pianist, and drummer Chihiro Fujioka.

1. "All the fallen people" (11:57) a gorgeous suite that opens fully representative of all things Canterbury before sliding deftly into GENESIS/ANT PHILLIPS-like Neo Prog. (28.5/30) .. I. Overture - the opening movement is full of both Canterbury and Neo Prog sounds and nuances. (4.75/5) .. II. Madrigal - The second movement includes the wonderful AMANDA-PARSONS-like voice and piano stylings of Lisa Ohki (singing in Japanese) in a gorgeous kind of Anthony Phillips fairy story telling passage. (10/10) .. III. Rhapsody - drums and circus-like noises denote the shift into this section, which becomes a Neo Prog feast of sound: active, chunky bass, Amanda-Parsons-like vocalese, a variety of TONY BANKSian keyboard synths, and a very GENESIS-like chord and melody structure with Lisa singing in English "all must be done" over a very GENESIS-like sound palette. (9.25/10) .. IV. Fantasy - with the signature marker of a classical guitar, a mystical journey of synths and piano is unveiled to play out softly, beautifully, to the end. (4.5/5)

2. "Sweet revenge" (1:44) using a Hammond organ and flute, the full band puts forth a very DAVE STEWART-like fast-paced instrumental ditty. (4.75/5)

3. "Step into Easter" (7:47) opens with a chorus of Lisa Ohki voices singing something only it's been reversed. Classical guitar, flute, and accordion give this a very STEVE HACKETT-like sound over the next two minutes. Flute and accordion take turns exposing the melody over the classical guitar play as if in a conversation before male and female voices enter singing in English in a very archaic GENTLE GIANT-like style and melody. The classical guitar takes over the sole musical carpet in the fourth minute before Lisa returns, this time singing in Japanese. The music here still feels like a combination of the delicate sides of STEVE HACKETT and GENTLE GIANT. The elegant guitar playing is exquisite as is this masterful, almost-classical song. (15/15)

4. Intermezzo (5:18) (Not present on my copy of this album therefore, not rated/reviewed.)

5. "Eternal jealousy" (8:14) (20/20) .. I. Prelude - solo piano plays delicately in a soft jazz KEITH JARRETT way. (5/5) .. II. Intake - turns on the synth strings with a series of orchestra-like chords before full band enters like JAN AKKERMAN and his FOCUS gang in all their glorious precision and technical perfection. A jazzy piano solo ensues to fill the foreground over the high-powered jazzy bass and drums before the AKKERMAN-like guitar shredding continues. (5/5) .. III. Stillglow - notes a shift into full Canterbury regalia with PHIL MILLER-like guitar (which later turns more Mike Oldfield/Alan Holdsworth) and organ and intermittent vocalese from Lisa. (5/5) .. IV. Return - a return to a FOCUS-like sound and theme in which Electric guitar, flute, piano, and synth all take turns up front. (5/5)

6. "Lagrima" (4:11) harpsichord and picked and strummed 12-string guitar provide the simple-yet-full musical fabric over which Lisa Ohki sings her extraordinary classically trained voice in Italian, French, Japanese, and English in a very European aria style. Ends with a very ANT PHILLIPS-like flourish. (9.5/10)

7. "Barren dream" (13:28) (27/30) .. Act I - synth strings open this before solo piano takes over at 0:22. At 0:47 the full band enters in jazz mode with two flute tracks sharing the exposition of the melody. At 1:20 the rock side takes over with electric guitar taking over for the flutes. At 1:45 there is a shift back to more classical sound with classical guitar. This interplay of classical/acoustic alternating with full rock electronic instrumentation repeats before a soft synth strings chord sequence bridges us .. Act II .. Act III

Total Time: 56:29

A wonderful display of compositional virtuosity with some amazing instrumental and melodic contributions throughout. The heavier, more intricate sections of the compositions sound much like country mates KENSO and AIN SOPH, while the more pastoral passages feel close to the stylings of ex-GENESIS soloists, ANT PHILLIPS and STEVE HACKETT, while the vocal passages feel forceful and dramatic enough to fit on the stages of Broadway or London's West End. The complexity of vocal symphonic passages are quite reminiscent of Keith EMERSON as well as jazz musicians like MANHATTAN TRANSFER and today's MOETAR.

A/five stars; an unquestioned masterpiece of progressive rock music and as fine of an album you'll find in Prog World.

This is Mr. Sirius debut album released in 1987. One of the most unique and individual progressive rock albums. The music covers the Canterbury Scene and Symphonic Prog. It's very pleasant music with lots of flute, vintage keyboards and female soprano vocals. This album is chock full of wonderful melodies sung in Lisa Ohki's (Hiroko Nagai) nightingale-sweet, soaring voice. Simply put, an absolute masterpiece and a basic addition to any serious progressive rock fan - the flute work are just flawless. This is high-quality symphonic progressive music. If you are an early Camel, Renaissance and Italian symphonic prog fan, you will love this album!

Mr. Sirius left behind a masterful prog treasure, but fortunately ''Barren dream'' was not his last official release.A second album followed three years later and this time he (along with Hiroko Nagai and Chihiro Fujioka) decided to hook up with two more members: Bassist Hidehiko Muraoka and guitar veteran Shigekazu Kamaki, former member of Orpheus and future leader of Kehell.The new work of the group was entitled ''Dirge'' and it was released in October 90's on King Records' Crime sublabel.

Nobody would expect that Mr. Sirius would return with a flawless and shining release like ''Barren dream'', as these types of albums see the light one in a thousand times, but ''Dirge'' is also a great work, full of excellent interplays and majestic soundscapes, despite sounding a bit unfocused compared to the debut.The music follows more or less the same vein, containing excellent Symphonic Rock with vintage inspirations, supported too often by Fusion touches.In fact the new guitarist has a tremendous soloing ability, very close to ALLAN HOLDSWORTH's style, offering bombastic and highly virtuosic moments.He pairs nicely with the acoustic textures of Miyatake, who's delicate flute work remains one of the band's trademarks.Again Hiroko Nagai prooves to be one of Mr. Sirius' biggest weapons: Pleasant, non-accented and clear English vocals are delivered between the furious interplays and the powerful breaks.The cinematic Classical influences of ''Barren dream'' are also present with an THE ENID-like grandiose approach through the use of synths, Mellotrons and acoustic guitars.The most important difference with ''Barren dream'' is the inclusion of a very long epic.The 21-min. ''The nile for a while'' is a great example of technical Symphonic/Fusion, most of it contains adventurous interplays, Classical references and emphatic, rich textures with violins, organ, flutes and electric guitars in evidence, sounding a bit like OUTER LIMITS.The different themes are sufficiently connected to each other, offering varied moods, while the dicreet Canterbury flavor is apparent through the more Fusion parts.And last but not least, the performance of the rhythm section is impressive and solid with plenty of complex plays.

Another winner by, propably, the best Japanese band of the 80's.Super-tight musicianship, that changes from complicated and technical playing to atmospheric, cinematic textures in a blink of an eye.Highly recommended.

Mr.Sirius is one of the obscure japanese bands who was formed in mid '80s with only 2 albums released in their short career. The most succesful and regarded as their best is the second offer named Dirge from 1990. The music is a combination of symphonic passages with a clear classical direction and a canterbury feel added in the mix. Well the result is pretty great I might say. Also in some parts are some pastoral elements present with a soft and mellow atmosphere. Hiroko Nagai the female vocalist has a pleasent voice that goes very well in this context, sometimes the vocal arrangements are very similar with Broadway singers or musical ones as the instrumental section aswell, like on Love Incomplete. Anyway the longest tune of the album The Nile For A While clocking around 21 minutes, is awesome, here the band gather all the great ideas they had so far and the result is pretty great and well performed. The passages are very well presented something between Camel , The Enid with canterbury feel. Lots of synth , combined with pastoral flute parts gives a very special atmophere with vocal parts both in english and japanese by Hiroko Nagai. So, all in all more then pleasent album to my ears, the cover art is quite awesome and goes hand in hand with the music. 4 stars for this little japanese treasure.

Though its opening passages may lure you into thinking you're in for another mostly tranquil listen along the lines of the preceding Barren Dream, it becomes apparent very soon that Dirge shows a different side of Mr. Sirius, with regular outbreaks of louder, somewhat RIOish playing and almost operatic vocals from Lisa Ohki. Whilst the last album presented a mixture of symphonic and Canterbury-flavoured styles, this album is more firmly in the Canterbury/RIO camp, with the influence of the likes of Henry Cow much more prominent. A very successful noisy counterpart to its quiet older brother, Dirge is another fine accomplishment from a Japanese band which unfortunately doesn't seem to have released very much since.

One of the most unique and individual progressive rock albums I have ever heard. I understand why this is in the Canterbury section, because the group do occasionally drift into Canterburified jazz-rock territory reminiscent of National Health's self-titled album, but much of the music here is in a symphonic, pastoral mode. Imagine, if you will, a collaboration between Anthony Philips on acoustic guitar and the Enid's Robert John Godfrey on piano, playing in the most relaxed and tranquil moods they've ever played in, and you might have something that resembles this piece. It took a while for this one to grow on me, but grow it did, and I'd recommend it to anyone interested in some genuinely challenging material which challenges all the usual assumptions about the categorisation of progressive rock music.

In the prog revival movement that started in Japan in the late 70s and became reaffirmed during teh 80s and 90s, there was room for every trend, even for this sort of mixture of symphonic prog, Canterbury-satyle jazz-prog and pastoral moods that Mr. Sirius developed as its own musical ideology. Masterminded by the skilfull multi-instrumentalist Kazuhiro Miyatake (keyboards, flute and acoustic guitars), the band's debut album "Barren Dream" remains to this day a solid example of how good prog rock continued to be as an artistic endeavor after the 70s. Miyatake had already had a wide array of experiences in his native progressive arena (for instance, Pageant and Pazzo Fanfano Di Musica), and now it was time to fully convey his vision through this band's functioning. The album starts with the first suite, "All the Fallen People", which clerly manifests the main progressive virtues of Mr. Sirius' music. This is gentle symphonic prog not devoid of stamina, well-constructed sequences of melodic bases in which the mood and motif shifts emerge fluidly, a crafted combination of serene beuaty and energy. Teh main mission of Hiroko Nagai's voca ldeliveries is to enhance the relaxing aspect of the bucolic side that Mr. Sirius imparts with academic elegance. All in all, throughout teh evident complexity devoted to this msuical architecture, a sense of warmth prevails. Netx is the brief instrumental 'Sweet Revenge' [... too brief...], which brings a jazz-rock tapestry of exciting colors. The nex ttwo pieces are focused on somethign quite different, that is, instrospective moods wrapped in a pastoral sonic landscape ('Step into Easter') or in a return to Romantic chamber ('Intermezzo'). The pairing of these tracks serves as a culmination of the road to eclecticism that Mr. Sirius designed for teh album as a whole: just by listening to these four tracks, the listener is capable of stating the band's progressive game. The album goes on with 'Eternal Jealousy', a song that steadily brings back much of the vibrant colorfulness we had met in track 1, only this time with a powerful jazzy ingredient that conditions its integral framework. It can be described as a Camel thing wrapped in Gilgamesh sheets and adding colors from Bruford's first two solo albums. This is a really excellent track: its 8 minute span feels so short once you notice that it's ended. You might as well listen to it twice in a road, but if you don't, you will be immediately treated with a lovely Rennaissance-meets-Anthony Phillips piece entitled 'Lagrima': the eerie marriage of female vocals and acoustic 12-string gutiar gets conveniently adorned with flute lines and soft percussion in places. The closing track is also the longest: it lasts almost 13 ½ minutos. Essentially, it is a hybrid of the moods from the majestic 'All the Fallen People' and the ultra-dynamic 'Eternal Jealousy'. Pompous it is, but its inherent compelxity is handled solidly in order to keep things under control lest the moments focused on melodic expansions become overtly self- indulgent. "Barren Dream" is more than just an album and it is not simply a great progressive album: it is an exercise on fine pottery in the shape of articulated sound. Simply recommended to all prog rock collectors over the world, no ifs or buts...