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KENSO

Jazz Rock/Fusion • Japan


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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. My selection of KENSO is limited to two CDs: "Kenso III" & "Yume No Oka". Especially for fusion fans!!!

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Buy KENSO Music


Uchi Naru Koe Ni Kaiki SeyoUchi Naru Koe Ni Kaiki Seyo
Import
Imports 2014
Audio CD$35.97
$54.45 (used)
Sora Ni Hikaru - Early Live Volume OneSora Ni Hikaru - Early Live Volume One
Belle Antique
Audio CD$23.93
$23.98 (used)
In ConcertIn Concert
Import
King Japan 2011
Audio CD$36.89
$20.00 (used)
In the WestIn the West
Import
Musea Records France 2001
Audio CD$39.75
$34.99 (used)
EsoptronEsoptron
Import
Musea 1999
Audio CD$11.75
$8.35 (used)
Yume No OkaYume No Oka
Import
Spalax 1997
Audio CD$26.53
$15.92 (used)
Complete BoxComplete Box
Box set · Limited Edition · Import
King Japan 2013
Audio CD$348.23
$354.38 (used)
EsoptronEsoptron
Musea 2003
Audio CD$17.21
$43.56 (used)
Twenty-Fifth Anniversary - Ken-Son-Gu-SuTwenty-Fifth Anniversary - Ken-Son-Gu-Su
Patograph
Audio CD$23.93
Fabulis MirabilibusFabulis Mirabilibus
Import
Btf 2004
Audio CD$16.95
$19.99 (used)
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KENSO shows & tickets


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KENSO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

KENSO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.95 | 27 ratings
Kenso
1980
4.10 | 47 ratings
Kenso II
1982
3.77 | 43 ratings
Kenso III
1985
3.94 | 29 ratings
Sparta
1989
4.09 | 56 ratings
Yume No Oka (Dream Hill)
1991
3.10 | 20 ratings
Esoptron
1999
4.50 | 2 ratings
Kenso 76 / 77
2000
4.31 | 45 ratings
Fabulis Mirabilibus De Bombycosi Scriptis
2002
3.91 | 28 ratings
Utsuroi Yuku Mono
2006
3.50 | 2 ratings
Uchi Naru Koe Ni Kaiki Seyo
2014

KENSO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.50 | 2 ratings
Kenso In concert (Music for unknown five musicians)
1986
4.00 | 3 ratings
Kenso - Live '92
1992
4.85 | 4 ratings
Sora ni hikaru - Early live Volume 1
1994
3.00 | 2 ratings
Inei No Fue - Early live Volume 2
1995
3.91 | 2 ratings
Zaiya Live
1996
4.46 | 25 ratings
In The West
1998
4.17 | 6 ratings
Ken Son Gu Su (25th Anniversary Concert Live )
2001

KENSO Videos (DVD, Blu-ray, VHS etc)

4.75 | 4 ratings
Ha-re-ki
2003

KENSO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Self Portrait
1987

KENSO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

KENSO Reviews


Showing last 10 reviews only
 Kenso III  by KENSO album cover Studio Album, 1985
3.77 | 43 ratings

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Kenso III
Kenso Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

4 stars Between 83' and 85' Kenso appear to have gone through a transitional period.Very good news were that the band was eventually discovered by a major Japanese label, King Records, and signed a good contract.Moreover they seem to have started recording material for a third work with the line-up of ''Kenso II'', but the majority of it was executed by a fresh line-up, without flutist Shiro Yajima and keyboardist Atsushi Makiuchi and with two new member joining on keyboards, Kenichi Oguchi and Toshihiko Sahashi.''Kenso III'' was released in 1985 with guest members on keyboards, oboe, vocals and flute, most important figure among them was Namba Hiroyuki.

Music of Kenso starts seriously to be regarded as one of the most dominant and convincing Prog stylings during the 80's.They still deliver a hot, smoking Symphonic/Fusion with frenetic paces and incredible interplays, showered with nervous synthesizers and virtuosic guitar moves.What seems to be just amazing is that the group maintains a high level of quality music, no matter if it keeps constantly the foot on the gear.The music is basically all instrumental with links to compatriots MR. SIRIUS, AIN SOPH and KBB, featuring absolutely satisfying instrumentals with Jazz-Rock styled guitars, sudden tempo changes, shifting climates and complex arrangements.Their early Canterbury-inclined touches start to fade in the sake of a more powerful performance with a serious sense of melody among the complicated themes.Lots of symphonic keyboards and Classical-drenched textures along with a fair dose of melodic flute drives guarantee the deep symphonic content of the album.The jazzy and Fusion influences are more apparent during Shimizu's guitar pyrotechnics and the general structure of tracks, which are performed with technique.Good, classic reference points from the worldwide Prog scene are definitely FOCUS, CAMEL, THE ENID and ALLAN HOLDSWORTH.Stunning material.

Kenso are too talented of a band to simply fail.Another qualitive, adventuruous and totally intricate work, which lists them as a top-5 combo among 80's Japanese Prog acts.Highly recommended.

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 Utsuroi Yuku Mono by KENSO album cover Studio Album, 2006
3.91 | 28 ratings

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Utsuroi Yuku Mono
Kenso Jazz Rock/Fusion

Review by BrainStillLife

5 stars Yayy. I had my precautions on this album but after a few spins I just fell into the music. The new uphill which started in 1999 Esoptron and continued through Fabulis Mirabilibus De Bombycosi Scriptis continued in Utsuroi Yuku Mono. While Esoptron offered only 3 songs of equal level to the 80/90 Kensos level, Fabulis Mirabilibus was already much better and innovative, not trying to recapture the 20 year-old spark but use the Kenso trademark-style and form it forwards. In Utsuroi Yuku Mono the hard-rock sound that was quite prominent in Esoptron and Fabulis Mirabilibus has fallen off. This album brings mostly Yume No Oka to mind, it also has more acoustic guitar and Keiko Kawashima clapping and singing (best example, the three part Codon). The new drummer Keisuke Komori proves to be an excellent choice, his drumming brings the Kenso I/II/III/Sparta drummer Yamamoto to mind. Kind of quirky fusion-like but cautios not the Bruford-like drumming. Utsuroi Yuku Mono has seventeen tracks from which seven tracks are under 3 minutes long. All of them have the energy and innovativity of a prog-epic squished into three minutes. The rest are 3-5 minute long pieces and then the best piece on the album "GOS" an eight-minute long piece showing the best that the modern Kenso can achieve. Anyways this is for me the best Kenso album since Yume No Oka and that's pretty good for a prog-band so old as Kenso. 4.5 stars

I just hope that Kenso can make a new album now that they still are in so good shape.

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 Sparta   by KENSO album cover Studio Album, 1989
3.94 | 29 ratings

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Sparta
Kenso Jazz Rock/Fusion

Review by BrainStillLife

5 stars 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.

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 Kenso III  by KENSO album cover Studio Album, 1985
3.77 | 43 ratings

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Kenso III
Kenso Jazz Rock/Fusion

Review by BrainStillLife

5 stars This 1985 release, follow up to the magnificient Kenso II is the most fusion-based album Kenso ever recorded. Still I wouldn't call this a pure fusion outcome, prog is very much in there, so is japanese music (traditional folk and popular music). No 1-3 star tracks, only 4-5 star tracks, a standard Kenso began in Kenso II and which lasted until Yume No Oka. The first part of the two-part piece Sacred Dream starts the album with great promise. The follower Power of the Glory is a powerful fusion-package containing great keyboard and guitar interplay. The Liberty Of Spirit is another great piece, so is Patter Of The Groovy. Turn To Solution is a composition of the bass player Matsumoto, and a truly great one, proving that Shimizu wasn't the only one capable of writing good tracks. The short Nostalghia features vocals or better said voices by Janna Kaku. Sacred Dream II is possibly one of the best tracks, Kenso ever produced, but the album does not end there. No, the album ends with Beginnings, an evolving piece that even has a little finale-like build up in the end.

This album featured keyboard playing not only by Oguchi, Sahashi but also by two guest musicians, the other being Hiroyuki Namba who played on the first album. Shimizu also provided mellotron and autoharp aside his guitar and koto playing. The almost orchestral layers in Turn To Solution and Beginnings were played with the power of 4 keyboard players! Two vocalists were also featured. For example the vocal passage on Far East Celebration was created with Tsunekatsu Takagi singing all the parts and overdubbing them. The drummer Haruhiko Yamamoto played also alto sax on a couple of tracks and also piano which makes him the sixth person who provided keyboards for this album. What a multi-instrumentalist! A former member of Kenso, flautist Shiro Yajima played on seven tracks on this album. But why was he a guest- musician? Altho this was his last album with Kenso, there was no reason to drop his credits to the guest-list... It's a shame no-one knows about Kenso, because it belongs to best bands of the eighties and nineties.

Anyway this album deserves only 5 stars *****.

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 Kenso by KENSO album cover Studio Album, 1980
3.95 | 27 ratings

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Kenso
Kenso Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

4 stars Consistency is the right word to describe KENSO's journey through the years.Over 35 years of a great musical career is the best proof for that.They were formed in 1974 by guitarist/keyboardist Yoshihisa Shimizu but this first period of the band didn't last long,as Shimizu concentrated on his medical studies,not to mention KENSO were just an amateur band playing for fun.In late 70's they reformed under Shimizu's guidance to record their self- titled debut,which has been re-issued with 6 bonus tracks.

STYLE: Maybe my favorite style of Japanese Prog and definitely one of the best to come out of progressive rock music.A mind-blowing mix of Symphonic Rock and Canterbury Jazz-Prog,where the archaic sound of flutes blends attractively with the synthesizers.Very complicated music at moments with series of professional interplays dominated by the keys and the magnificent performance of Shiro Yajima on flutes.Nice work on guitars by leader Yoshihisa Shimizu,who's style ranges from HACKETT-ish melodic parts to FRIPP- ian complex outbursts.Endless soft symphonic passages created by awesome keyboards are an ear;s heaven.I also recognize the addition of traditional Japanese tunes at some points.

INFLUENCES/SOUNDS LIKE: Hold on and try to imagine GENESIS and CAMEL jamming together with NATIONAL HEALTH and SUPERSISTER!For those who have listened to the masterful works of MR.SIRIUS,you know exactly what to expect.

PLUS: The inspired and fantastically executed interplays and breaks.The memorable work of Shiro Yajima on flutes,certainly one of the best flutist to be heard.The way that calm symphonic passages alternate with the more complex parts of the Canterbury school of prog.The balanced mix and acceptable production of an 80's prog album.Surprisingly the synths not only do not sound cheesy,but we would probably talking about a different album,were they absent!Compositionally speaking KENSO belong to the top league of progressive rock.

MINUS: The big problem of all Japanese bands:the vocals do not fit well with the music plus they are rather amateur.Fortunately the album is mostly instrumental.The bonus tracks are in a Hard-Symph Prog mood,nice tracks in general but somewhat out of the main' album's atmosphere.

WILL APPEAL TO: The whole prog community without exception and to every music fan who wants to broaden his horizons with a qualitive album.

CONCLUSION/RATING: Playing one of the most demanding styles of prog and delivering such a great number of unforgettable pieces of art,KENSO's debut can only flirt with the masterpiece label...4.5 stars and a little suggestion to those not familiar with Japanese vocals.

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 Yume No Oka  (Dream Hill) by KENSO album cover Studio Album, 1991
4.09 | 56 ratings

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Yume No Oka (Dream Hill)
Kenso Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

3 stars Fifth Studio album (sixth overall , excluding, Self Portrait, a compilation) from the Kenso band that is now still a quintet but revolving around guitarist Shimizu and keyboardist Oguchi, the rest of the members having changed since the early 80's' line-up. Dream Hill (that's the album title's translation) comes with a peaceful pastoral landscape of a heard and again features most tracks written by Shimizu, leaving the two keyboard players Oguchi (2) and Mitsuda (1) crumbs, and his music seems inspired, even thematic as the album is book-ended by Phases De La Lune tracks.

I'm not exactly sure when Kenzo turned their sleeves inside out and opened their musical propos towards jazz-rock & fusion, but this album is certainly quite a departure fro m the first three albums, which were symphonic and light years from jazzy thoughts. Yes JR/F is a facet of their music, but if they sound sometimes like Brand X (Ancient In My Brain), it is mostly through their Genesis influences (so obvious on the their early albums), rather than a fascination to RTF or Hancock. While Shimizu has definitely asserted his guitar in the group, much of the sound still relies on the two keyboards, which develops digital sounds so typical of the 80's, which of course does not sit well with this proghead, especially when the sound chosen are sometimes plain incompatible with the music, ie: the "symphonic sound of the keyboards on a jazz-rock piece is unconvincing When they do sound a tad more convincing , they sound like a second grade Brand X or fifth-dilution of Mahavishnu or Gentle Giant. What irritates me a bit is the drummer's sound (not his technique), although I've heard much worse elsewhere but at the start of Alfama, it is infuriatingly bad.. Some tracks are complete bores (OIA), others would've gained a great deal with a better drumming (Fourth Reich)

An amazing improvement over the early 80's album, much more guts and balls, this album is worth a good listen, but pales in comparison to the albums it looks up to. And in some weird way, you could call this neo-jazz-rock, rather than retro-jazz-rock. From what I gather , it would be another 8 years before Kenso would record their next album, Esoptron, a more Crimsonian jam-band affair, but I have no idea why they kept sileny for so long. Way over-rated, certainly; but still worth a spin.

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 Esoptron  by KENSO album cover Studio Album, 1999
3.10 | 20 ratings

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Esoptron
Kenso Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

3 stars 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.

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 Kenso III  by KENSO album cover Studio Album, 1985
3.77 | 43 ratings

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Kenso III
Kenso Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

2 stars 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.

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 Yume No Oka  (Dream Hill) by KENSO album cover Studio Album, 1991
4.09 | 56 ratings

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Yume No Oka (Dream Hill)
Kenso Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

4 stars The activity and the history of music lasting for about ten years might have been exactly continuous Kenso debuts of the revolution. The element to which the wind instrument that was able to be listened in their initial music was taken was revolutionized while pursuing a perfect element of the music character every time the work was announced.

The flow with the part where an exact calculation was given as a part of the style grand though Rock is made a root and a composition of the tune will strongly have the element of Jazz Rock/Fusion. What should be of the band that band leader's Yoshihisa Shimizu thought about strongly had the inquiring mind to music that always caught the age and was not related to the market. It might also have had not only the development of Jazz/Fusion but also making the sound such as symphonic.

"Sparta" that had been announced in 1989 was an album with high quality in which energy was very poured for them. However, it is said that it was proposed to the industry of the music of Japan that he perform the music of New Wave alone according to the band leader's remark. However, it is said that he always thought bringing as the band leader to the [bandono] top close. The band has already tried to head for one top that the band thinks about by absorbing the element of various music.

The band leader was having them revolutionize it always pursuing the music character of Kenso researching various Prog Rock. And, he has enumerated the name of "Pat Metheny" as another remark. There might be a part reflected as a concept and thought when this remark's thinking about the content of the part and this album of his music character. The tune of the title that is called "P.M." is actually collected to "In concert" announced in 1986. I will be able to ask hope to music because of no end of him by simple music in @ what and taking the methodology of various Prog Rock and Jazz/Fusion. The band was exactly rushing into at time when one wave was gripped.

It changes into Toshihiko Sahashi of the keyboard player who was regularly participating in the band and Kenichi Mithuda participates in this album. And, it is said that "Dream hill" that novelist's Arthur Machen wrote as the overall concept of this album will be quoted.

"Les Phases de la lune 1" dashes from the flow of an acoustic guitar attended with suddenly complex melody and development. A technical element might have reached the peak as a band. The melody of the keyboard advances with complete harmony. Ensemble of the band might be also splendid. Grand part in the middle where width of tune is expanded from development of calculated guitar. A dash feeling advanced as the methodology of Jazz/Fusion is taken has succeeded. The sound might be variegated.

"The Signification of time" might be a flow of which the part of "Pat Metheny" exactly said as a remark of the leader has gone out. However, it will not be a part where they have already mimicked music interpreting it. The band completely catches the sound. A refreshing melody crosses with a complex rhythm. The band challenged music as one shape. The tune progresses while running side by side with the part with the tension on the way.

"From the mystic woods" made from Kenichi Mithuda will have the part with a few, ambient elements from the flow of a beautiful keyboard. The title is exactly reflected in the tune. The line of Bass twines well with the part of a beautiful keyboard. The rhythm and the melody cross each other. And, Ad-Rib of Bass contributes. It has an exactly mysterious flow.

"OIA" has the flow that puts the arpeggio and the uneasiness of an opening guitar in the impression. When the overall concept of the album is considered, the tune will have the part of the connection. The flow has the role that shifts to the following development.

As for "The ancient in my brain", the melody of the keyboard with the extension is impressive. PFM might be a little reminiscent as the expression method. And, it advances with the part of high-quality Jazz/Fusion with an acoustic guitar. Complex development really raises the quality of the band. The sound of the band in close relation to the sound of the keyboard that is reminiscent of the sound of the wind instrument has the function as two keyboard players.

"Huan Na Kioku" starts by the arpeggio with a beautiful guitar. The contribution of the keyboard that operates a variegated sound might be also large. And, the guitar that is reminiscent of Robert Fripp appears. The flow of the album might have fast and slow very much. And, the tension is always kept. It might be exactly a sound of Kenso.

A rhythm that twines intermittently from the part of the start mainly composed of the rhythm and a racial melody appear in "Mediterranean and Aryan". The album advances exactly with one concept. The flow of Gentle Giant might be reminiscent. However, the tune shifts to the flow where the wave quietly drifts and expands the width of the tune. The tune develops intermittently and reaches the peak by the melody of the guitar. In addition, the tune advances with the flow maintained.

As for "Today I left OIA", the voice twines round the melody of the guitar of the sitar. It will have the part of the connection as a flow of the album. And, the concept is continued.

The melody with the tension with the element of Fusion in a steady rhythm twines round "The Fourth Reich". The tune has development to which the forecast doesn't adhere attended with the line of an extension of the keyboard and heavy Bass. The complex composition developed one after another might be splendid. Fast and slow is freely manipulated and an advanced flow raises the entire quality of the album.

"Alfama" has the development of Hard Fusion to which the melody and the guitar of a beautiful keyboard suddenly crosswire. The tune always continues the tension and the extension and has the flow of very early development. The flow that develops intermittently might be splendid. The tune will flow quietly and cultivate listener's imagination. And, the top is received at the end.

"Les phases de la lune 2" advances with a slow flow. It advances with the form of the ballade. The progress of the code of the tune is calculated while the float in the space. The keyboard twines round a beautiful piano melody and the atmosphere of the tune is continued. The guitar reached the peak and directionality and the concept of the band were offered.

The band used a lot of energy for producing this album. After having announced this album, the band leader had the rest a little. This album produced by them pouring energy into this album is too a work always popular among the listener in the world.

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 Kenso II by KENSO album cover Studio Album, 1982
4.10 | 47 ratings

BUY
Kenso II
Kenso Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

4 stars 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.

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