Kenso

Michael Baryshnikov написал(а) к All в Oct 20 14:00:54 по местному времени:

Нello All!

Залиты диски Kenso:
(2000)Ken_Son_Gu_Su(Live)
(2002)Fabulis_Mirabilibus_De_BombycosiScriptis

Добавлены ещё два диска Кензо.
Японский прог - такой разный и такой одинаковый... В своём стремлении во всём переплюнуть европейцев, японцы не знают меры и часто перешлифовывают то, что и так достаточно блестит (во, сказанул!).
Концертник Кензо тому прямое подтверждение. Ну, как "концерник"? По качеству он, как студийный, почти треки разделены паузами. Сказать, что такую сложную музыку можно так сыграть на концерте, без овердубов - как-то язык не поворачивается. На диске указано, что все треки записаны на концерте 30.04.2000 года (юбилейный концерт, посвященный 25-летию группы), приходится написанному верить.
Энивей, если не считать вот этого "чуть-чуть", то всё очень здорово, кроме того, на концерте они менее экспериментальны.
Второй альбом, чисто студийный, номерной, и тут они развернулись в полный рост. Название альбома - отсылка к редкому психическому заболеванию. Ну, далее понятно.
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

===
[info from the booklet]

Kenso's 25th Anniversary Live performance was an extraordinarily delightful event. I am convinced that the audience enjoyed the show to the fullest extent, but I'd dare to say that it was Kenso's members who got most satisfaction out of the show. The ineffable atmosphere at the concert must have been the result of the exquisite vibration in the minds of the members, who had the greatest joy in performing the music created with their most devoted care, being transmitted and ultimately well-received in the minds of audience. I have to admit that I went beyond the limit of my sensations while playing the guitar on stage, where the air was filled with fellow members'emotions and love of Kenso. For those who made this concert possible - both current and past members, staff and the audience - I am grateful from the bottom of my heart. Thank you so very much!

This CD, however, is limited in time and song selection, and I deeply regret that I had to leave off some of the songs performed. Nevertheless I am still hopeful that someday the show will be released in its entirety on video. (Well, am I really allowed to say that now?)
Yoshihisa Shimizu --- June 11, 2000

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 ears, 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 Нaidouks 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"/"Нyoto"("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

перевод на русский - некто tatuk

Двадцатипятилетний юбилейный концерт Kenso был просто восхитителен. Я убежден, что зрители наслаждались шоу в полной мере, но я бы осмелился сказать, что наибольшее удовлетворение от шоу получили сами музыканты. Непередаваемая атмосфера концерта была результатом изысканных вибраций в умах членов группы, наслаждающихся исполнением музыки, искренне созданной, переданной и в конечном итоге хорошо принятой зрителями. Должен признаться, что я вышел за пределы своих чувств, играя на сцене, где воздух был наполнен эмоциями и любовью других членов Kenso. Тем, кто сделал возможным этот концерт - как бывшим, так и действующим музыкантам группы, рабочим и зрителям - я благодарен от всего сердца. Спасибо вам большое!

Этот компакт-диск, однако, ограничен по времени и в выборе песен, и я глубоко сожалею, что некоторые композиции пришлось убрать из записи. Тем не менее я все еще надеюсь, что когда-нибудь это шоу будет выпущено в полном объеме на видео. (Что, я действительно позволил себе это сказать?)
Ёшихиза Шимизу --- 11 июня 2000
===

...from the booklet:
Bombycosis

Bombycosis is a rare mental disorder that is largely attributed to pathological developments that occur through interactions with external mental stimulants, particularly in relation to music and literature. Observations reported in medical publications, first appearing in Japan during the 1930s, indicate an aesthetic inclination with strong attachments toward reflective objects such as mirrors. While the clinical manifestation is identified as visionary (and occasionally auditory) hallucinations -- with the rare doppelganger apparition, as well as anxiety surrounding an amalgamation of identities -- a credible root cause has yet to be found, with the exception of the probability of hereditary associations.

Patients tend to present mental characteristics of exaggerated seriousness and/or melancholy, leaning toward paranoia and compulsive neuroses, often extending to delusions of grandeur and alternating with delusions of guilt. This vacillation of moods is paralleled with general observations of a manic-depressive psychosis. In this context some researchers attempt to conclude bombycosis as a variant of cyclothymia according to Kretschmer's personality theory, while pathological studies are underway in order to further distinguish the symptoms from other mental disorders such as the aforementioned manic-depressive psychosis and dissociative personality.

Reports from the viewpoints of biological chemistry and molecular cytology also provide substantial input to clinical diagnosis. Pathological researchers may benefit from these studies with regard to bombycosis in discovering the relationship between artistic creativity and the physical chemistry of the human body.
Yoshihisa Shimizu, Ph.D.

Bombycosis (перевод - некто tatuk)

Bombycosis - это редкое психическое расстройство, которое в значительной степени объясняется развитием патологии, происходящей в результате взаимодействия с внешними психическими стимуляторами, особенно по отношению к музыке и литературе. Обзоры в медицинских изданиях, впервые появившиеся в Японии в 1930-х годах, указывают на эстетическое влечение с сильной привязанностью к отражающим объектам - таким, как зеркала. В то время, как клинические проявления выражаются в виде зрительных (а иногда и слуховых) галлюцинаций - иногда появления двойника, а также бредового слияния личностей окружающих - исходная причина заболевания до сих пор не найдена, за исключением вероятных наследственных признаков.

У пациентов психические признаки, как правило, выражаются в виде преувеличенной серьезности и/или тоски, склоняясь к паранойе и навязчивым неврозам, часто переходящим в манию величия и чередующимся с манией вины. Такие колебания настроения идут параллельно с общим проявлением маниакально-депрессивного психоза. В связи с этим некоторые исследователи пытаются определить bombycosis как вариант циклотимии согласно теории личности Кречмера, в то же время продолжая проводить исследования патологии с целью большего обособления от симптомов других психических расстройств, таких как вышеупомянутые маниакально-депрессивный психоз и раздвоение личности.

Обзоры с точки зрения биологической химии и молекулярной цитологии также вносят существенный вклад в клиническую диагностику. Исследователи патологии могут получить пользу от изучения заболевания bombycosis в виде раскрытия взаимосвязи между художественным творчеством и физической химией человеческого тела.
Yoshihisa Shimizu, к.т.н.
===

I enjoyed their "Dream Нill" 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. Нaha. 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 Нorse 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 Нendrix 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. Нighly recommended.
===

Enjoy!
С наилучшими пожеланиями, Michael Baryshnikov.

--- wfido

Michael Baryshnikov написал(а) к All в Apr 21 10:50:41 по местному времени:

Нello All!

Залит Kenso/(2014)Uchi_Naru_Koe_Ni_KaikiSeyo

Добавлен последний альбом ветеранов японского прога - группы Кензо.
Просто великолепный альбом - отличный тяжёлый джаз-рок/фьюджн, в котором всего в меру. Пракически невозможно выделить какую-то одну вещь - все "ровно-отличные" (ну, кроме короткой предпоследней вещи, которая, скорее, шутка).
Диск весь инструментальный, только на последнем треке появляется красивый женский "японский" вокал.
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

Enjoy!
WBR, Michael Baryshnikov.

--- wfido