Kenso - Utsuroi Yuku Mono. 2006 Japan

Kenso’s career has taken them to many different styles and genres over the years. Their 8th studio album Utsuroi Yuku Mono sees Kenso consolidate what they do best, and offers up no less than 17 tracks of tightly structured symphonic fusion, where melodies are treated with respect. While perhaps not as exhilarating as Fabulis Mirabilibus de Bombycosi Scriptis, there's no doubting this is Kenso, and their full-on tightly woven progressive rock sound is very much intact. The final three part track (entitled 'Codon' parts 1-2-3)  - and totaling only seven minutes combined - are a complete departure from this album and Kenso's sound in general. They are in fact a rock based interpretation on Flamenco music with its vocal tradition (by a female in this case). Perhaps they should have been labeled as bonus tracks, but then again the cover features a pretty Japanese lady adorned in traditional Andalusian costume, so who knows? Whatever the case, these being the final tracks, I feel they leave a confusing mark on an otherwise typically great Kenso styled instrumental symphonic album. Listen to the first 14 tracks and rate on those before embarking further.

Ownership: CD: 2006 Nexus

9/27/14 (new entry)

Fireballet - Night on Bald Mountain + Two, Too. 1975-76 USA-New Jersey

Night on Bald Mountain: Though from New Jersey, Fireballet sound like most of the progressive rock bands coming from Midwest America during the mid 70s (as I've painstakingly documented before). Yes is the major influence here, as it was for countless bands across the fruited plain. In this way, Fireballet were to the USA what Druid were to England. It's 1975, and it's time to release the followup to Relayer, because there will be one right? Right?? The long classical interpretation will of course recall ELP, another band that used to get props (though not so much in recent times). King Crimson gets plenty of cameo's as well throughout.  I'm a sucker for groups from my country going all-in progressive, even if not a single one of them ever made much headway in the Billboard charts (other than Kansas). But based on the number of copies still out there for sale in the wilds, it does appear they sold quite a many copy anyway. Maybe not one of America's best, but certainly a fine straight-down-the-middle progressive rock effort. Can't go wrong here for fans of the style. As for the bonus tracks on the Inner Knot CD, the opening one is 'Robot Salesman' from 1977, and has a fully orchestrated pop sound. Had this been their decided direction on the new album, it's highly likely not to be well received - especially now, but even back then I think. The other track is their 11+ minute live cover version (from 1974) of King Crimson's 'Pictures of a City' (pre-Night on Bald Mountain album). It's a muffled recording, so hardly essential, but a nice curio piece (perfect as a bonus track). The Arcangelo CD extra bonus track is called 'Say Anything', which I know nothing about and obviously haven't heard.

Two, Too: Perhaps predictable in retrospect, Fireballet scrubbed all the edges off their first album for an even more accessible second effort. Yet, it's really as progressive as the debut, minus the overt displays of grandeur. Tighter... more professional. As stated about Night on Bald Mountain, Fireballet have the sound of Midwest America down pat (despite their Jersey roots) - one that combines progressive rock with FM radio sensibilities. Interestingly enough, Fireballet's "commercial take on Yes" approach sounds like early Starcastle here - so once again we have parallel groups gathering similar data inputs, and spitting out a similar conclusion. For me, perhaps because I was a child within the generation, this type of music grows in stature with me as the years go by. The ridiculous original cover no doubt shaved one full star from this album for many folks right out of the gate. The band was smart enough to apply more appropriate art for the CD. Give this one a fresh pair of ears - you may be surprised. There's only one bonus track on the Inner Knot release 'In My Craft and Sullen Art / Mars' which is a (short) interpretation of the Holst classic. It's a live recording, from the same 1974 concert as the 'Pictures of a City' interpretation as found on the debut CD reissue. The Arcangelo CD adds 'Tears', a track I'm not familiar with.

Personal Collection
LP (Night on Bald Mountain): 1975 Passport

LP (Two, Too): 1976 
CD (Night on Bald Mountain): 2014 Inner Knot
CD (Two, Too): 2014 Inner Knot

Both albums are single covers and are common records in the US, often still found in the few used record stores that exist. With the smallest of searching you should be able to net one for under $10 - and less than $5 with a little more hustle. So one would presume LP reissues will never be needed. But on CD - now that has proven to be a challenge. Until finally this year, as announced on the CDRWL, we finally have legit CDs to buy and own, after years of watching pirate editions fly by. It's even more curious when you realize that band member Jim Cuomo is still heavily involved with the music industry. We first heard about the Japanese reissues, and while I haven't seen these, they each feature one extra bonus track not found on the US issues. The CDs are stored in a digipak, and each are adorned with embossed covers, which is a nice addition. As you can see, the second album has been redesigned (3rd scan), tastefully extracted and repurposed from the Night... cover. And who can blame them given the ridiculous original cover (second photo)? I'm sure it seemed funny at the time (to someone?), but it hasn't aged well. For purists, the Japanese CD, as is their protocol for mini-LPs, reissued the CD with the original cover. Each CD includes the lyrics and recording detail, but no history or other archival media, which is kind of a bummer. It would have been nice for them to spin their tale of woe (perhaps with some added humor) for us all. The sound is very good to my ears anyway. Good CD reissues, but perhaps they could have done a bit more. Don't want to complain though - it's way better than nothing - and certainly a step up from what you would get from Wounded Bird for example.

1992; 9/24/14 (new entry)

Syd Arthur - Sound Mirror. 2014 England

For Syd Arthur's second album, they are now signed to Harvest Records. What? Harvest is still around? The label used to be a guarantee of a thought provoking record. I haven't seen the wonderful day-glo yellow and green letter label for years (other than from my vintage LP collection of course). And too bad the CD is only silver and black without the yellow/green colors, oh well (though they were kind enough to make the inner sleeve emerald green - well, it's something!). One would hope EMI hasn't desecrated the label, though I'm sure they've put drivel on it over the years. Just don't tell me about it. Ignorance is bliss.

Oh, Sound Mirror - right. Let's get on with it shall we? So how would they follow the brilliant On an On? I'm in a 1970 MG convertible, roaring down the A2, with a smashing blond girl in black thigh high go-go boots and long lashes. Hey, this is working out well! She giggled and it was translated in Swedish. Yeaaaaaaaa!

Ownership: CD: 2014 Harvest

9/21/14 (new entry)

Kenso - Fabulis Mirabilibus De Bombycosi Scriptis. 2002 Japan

After some experiments with fusion, new age, and hard rock, Kenso return to symphonic progressive form on Fabulis Mirabilibus de Bombycosi Scriptis, but blasted through the wall as if they suddenly merged with Happy Family. So the songwriting is at the same high level as Kenso II but mixed with a modern ferocity not usually associated with the group. This is an exhilarating album that is at once complex and yet heavy as hell. And melodic. The production is absolutely stellar, something that was hamstringing the group throughout their last three studio albums. If you're looking to start somewhere with Kenso, and like a little muscle to go with your romantic progressive sounds, then be sure to go with this one. A stunner.

Ownership: CD: 2002 Nexus

9/20/14 (new entry)

Klan - Mrowisko. 1971 Poland

Klan, like Czechoslovakia's Flamengo, were one of the pioneers of the exploratory progressive movement beginning to emerge in the Eastern Bloc, before the authorities declared this kind of music too subversive for a healthy State. I hear music like this with a bit of sadness, always wondering what could have been for those countries left to suffer behind the Iron Curtain while the rest of Europe was being "turned on". Klan's effort is a mix of psychedelic, radical progressive, horn rock, jazz, orchestral rock, and emotional vocal pop. Fuzz bass, crazy drumming, impassioned vocals, flute, and some killer swirling organ define this amazingly mature work for the time and place. An album that should be held up as a national treasure, recorded at a time of despair and little hope.

Personal collection
CD: 2008 Metal Mind

One of only a handful of gatefold albums coming from the Eastern Bloc. It's still super thin (based on what I've read), but this kind of luxury item was typically frowned upon by the State. My introduction was the '87 reissue that I bought right around release time, originally coming out near the end of the regime, though now housed in a single sleeve. I quickly ditched this cheaply made reissue vinyl for the first CD to hit the market (1991 Digiton). The Digiton release is fine, and certainly suffices as the only copy anyone would ever need - especially considering it includes the sought after 1970 EP as bonus tracks. I had no intention of buying this album again, but I recently had a chance to source the lavish double CD on the fine Polish label Metal Mind for an attractive price. It comes with a full booklet with lyrics and extensive liner notes (mostly in Polish though). The extra CD only contains the 11+ minute EP and seems a bit wasteful (ironic isn't it?) considering both albums combined total only 50 minutes. I didn't really need to upgrade in this case. Interesting to note that the old state label Muza is still alive an kicking. Glad they were able to transition to Capitalism successfully it appears. I haven't seen or heard their two CD versions of the album. (Also be sure to read the comments where UMR friend Bas offers up even more CD info regarding this landmark album).

Kenso - Ken-Son-Gu-Su. 2000 Japan

As if the band was responding to the criticism of the three previous studio albums, Kenso released the dynamic live album Ken-Son-Gu-Su - showcasing the band's enormous talents at their most raw and energetic. No gloss or production tricks here. Just the band's compositions played live and served up for judgment by a live audience, who appear to be lapping up every minute of it.  Recorded on April 30, 2000 for the band's 25th anniversary at On Air East in Tokyo. Starting with none other than the band's defining track 'Umi' (The Sea) from the debut, Kenso go on to lay the concert hall to waste. This is followed by 'Anasthesia Part 2' (aka Masui), with its devastating keyboard runs and melodic lines, taken from their most arguably progressive album Kenso II.  Following this is the moody and Japanese indigenous sounding 'Hyoto' (Frozen Island), just as it is on the Kenso II album - the two tracks forever linked like Santana's 'Black Magic Woman' and 'Oye Como Va'. Kenso II's opener 'Sora ni Hikaru' (Shining in the Sky) follows, putting the concert goers back on their feet, while engaging their brains in overtime. Moving along in chronological fashion, the fusionesque 'Beginnings' from Kenso III is presented, demonstrating an entirely different sound and outlook from the band. A pretty song in its own right, one very much worth including in this greatest hits live show - as it were. It's nice to see Kenso not shy away from their various style experiments over the years. And now for the first break on the linear curve, as Kenso looks back to their smoldering Kenso II closer usually known as 'Sayanora Proge' (aka Goodbye Prog), but here called by its Premiata Forneria Marconi styled name 'Arrivederci', which is appropriate considering the musical reference. Since the band was rocking out, time to get the audience grooving on their (at the time) new hard rocking and Led Zeppelin influenced Esoptron album with a track they call 'Festivity', which appears to be a much shortened version of the album's opener 'Kojinteki Kikyū'. This is followed by two more progressive, yet no less rocking, fusion cuts 'Gips' and 'Negai Kanaeru Kodomo Tsurete Yukō' from the same album. I was hoping Kenso weren't going to overlook their very fine Yume No Oka album, and of course they don't, playing for the crowd the album's lovely piano laden and expressive guitar closer 'Les Phases de la Lune II' followed by a rousing rendition of the superb 'The Ancient in My Brain', arguably one of Kenso's best compositions to date. After this, the band takes one more shot at their hard rocking current album with 'Zaiya Kara no Kikan'. The concert closes, oddly enough, with the first two tracks from their least rated 1989 album Sparta. If there's ever an album where the live experience will likely improve upon the original, it's Sparta. Both tracks demonstrate the compositions were solid, but that the production castrated the potential. Overall Ken-Son-Gu-Su works as both a fiery live concert and as a greatest hits album - and is an excellent place to start with the band if you're new to them.

Ownership: CD: 2000 Pathograph

9/18/14 (new entry)

Blackbirds - Touch of Music. 1971 Germany

Blackbirds' second album is a bit more UK and Dutch oriented than the usual 1971 German organ bang fest. Now nobody likes a German organ bang fest as much as moi (especially when the organ is a Hammond), but there's always room for a band like the Blackbirds' more classically oriented styled progressive rock. And it's quite the keyboard extravaganza too. References to Trace, Rare Bird, and The Nice are necessary. And the dour atmosphere of the vocals recall bands such as Procol Harum and Still Life. Touches of violin, flute, and recorder adds much needed color to the canvas. The CD version includes the rare 1970 single, where Blackbirds prove they were quite a force in the ways of psychedelic music as well with a searing acid guitar sound and gruff vocals. Very good album.

Personal collection
CD: 2005 Long Hair

Long Hair is the only label to step up on the reissue front, and they did a fine job on the CD, adding full liners, great sound, photos, and two bonus tracks from a rare 1970 single. I suspect the reissue LP to be similar (except it only features one bonus track).

Steve Linnegar's Snakeshed - Classic Epics. 1982 South Africa

What's most telling about Linnegar's album is just how out of sync the album was with its release date of 1982. The psychedelic guitar, optimistic vocals, folky acoustic guitar and violin overlays, and overall songwriting point to an album that could have been released in 1974 England. Classic Epics is a crafty mix of folk, psychedelic, progressive, and AOR. Best track is the lengthy 14 minute psychedelic space rocker 'Desert'. A wonderfully out of touch album, perhaps due to its remote location on the (then) shunned South African subcontinent. The new reissues on Guerssen really open this album up from prior bootleg copies, and even from the typically dirty South African originals. Be sure to hear this album as it was intended before passing quick judgment.

Personal collection
CD: 2014 Guerssen (Spain)

Originals come in a gatefold sleeve. Albums coming from South Africa are hard enough to find, but privately pressed ones are even that much more difficult. I was first sent a cassette of this album in the late 90s, and I've had it in the CDRWL since its inception. And as first reported on that site, via Linnegar's sister Diane, we learned of these Guerssen reissues. The album sounds great (from the master tapes) - much better than my old cassette which came from the crappy bootleg LP I'm sure. The album features a detailed review from Acid Archives contributor Aaron Milenski, as well as the full set of lyrics, newspaper clippings, and photos. The LP reissue, it appears, replicates the original in every way. Don't miss these reissues if there's any interest at all in this album.

Druckfarben - Second Sound. 2014 Canada-Ontario

As if emboldened by their debut's comparisons to Dillinger, Druckfarben has gone even further to prove the point (was I the only one to do this? I wonder...). They have actually improved on their already impressive debut. Ed Bernard is the master of the stringed instrument, schooling us all on guitar, violin, viola, mandolin, banjo, dobro, and - "pint glass and incidentals" (lol). Vocalist Phil Naro sings like men used to in the 1970s and early 80s - with hairy chest and big balls. The idea was to pick up hot girls, something that I guess is now (sadly) sooooo passe. William Hare provides us our analog keyboard fix. Kansas (the good stuff - do I really need to qualify this comparison?) remains the altar at which Druckfarben worships at. And I'll be damned, if I don't hear some Rush creeping in here as well. Hey, they're Canadian, they can't help it. And, I for one, welcome the influence. If Druckfarben existed in 1976, they'd be topping the Billboard charts. As it stands, they are heroes to those who remember the best part of growing up in 1970s North America. Thanks for that, Druckfarben. Here's to hoping you go backwards in time from here.

Ownership: CD: 2014 private

9/16/14 (new entry)

Opus III & Friends. 1970 Sweden

What strikes me most about Opus III & Friends is how much it reminds me of an American album circa 1970 as found on labels like Paramount, Rare Earth, and ABC. It actually sounds like a horn rock album - without the horns if that makes sense. But the compositions have that similar flavor about them. It's clearly a post psychedelic release and many elements of that genre are present, most fortuitously on a couple of the guitar solos spread throughout the eight tracks here. The instrumental songs go for a quiet introspective electric guitar trio sound. Which is a logical conclusion when you realize the band is headed up by no less a luminary than the legendary guitarist Jan Schaffer. And the Friends part of the moniker includes none other than Bjorn J-Son Lindh on piano and flute. This is definitely not the subversive underground Sweden of Parsson Sound, International Harvester, Algarnas Tradgard, and Flasket Brinner. Not much is unfortunately. A good album though, and well worth picking up if you see it.

Ownership: LP: 2013 Sonet / Universal. Single sleeve. Numbered. RSD.

12/21/10 (first listen/review); 9/16/14 (update/new entry)

Kenso - Esoptron. 1999 Japan

It would be another eight years before we heard from Kenso in the studio again. Most assuredly they would come back with their patented blend of European instrumental symphonic meets hard hitting fusion sound? Nope. How about Led Zeppelin?(!) Instrumental heavy blues rock with hard rock guitar and even a little flute, and in the case of the latter, one does have to call out Jethro Tull. The two keyboardists here provide synthesized sounds meant to represent the analog sounds of the 70s (i.e. Hammond organ, Mellotron, Mini-Moog (though I think it is actually a Mini-Moog)). The mid 80s fusion of Kenso III are here in abundance as well, though still filtered through a hard rock lens. There's even some hints of turn of the century Shibuyu-kei ('Chishiki o Koete'). Melodically, the music is unmistakably Kenso, despite all the stylistic trimmings. One complaint I do have about the album is the production, not usually an issue when it comes to Kenso - though as stated in earlier reviews, they could be a bit too slick. It's as if this is their response to the over digitized and professional gloss of Sparta and Yume No Oka. So they decided to purposely "muddy things up" a bit. As if to give it an authentic 70s edge. In 2014, many bands have mastered the art of the 1973 production method. In 1999, only a handful really had a grasp on it - and Kenso weren't one of them. So it sounds like a sludgy 90s digital recording failing to capture the spirit of another age. This does distract the listen somewhat. At the time of release, the album didn't quite live up to Kenso's lofty reputation they enjoyed. I have to say, in retrospect, it still doesn't. That isn't the same thing as saying this is a poor effort. Far from it - and is definitely worthy of ownership. To my ears, this is Kenso trying not to be Kenso. So if you're new to the band, don't start here. 

Ownership: CD: 1999 Nexus

9/15/14 (new entry)

Vespero / Zone Six - The Split Thing. 2012 Russia/Germany

The next studio offering from Vespero is a split album with the German band Zone Six that is titled, appropriately enough, The Split Thing. Vespero contributes 3 new songs, totaling approximately 25 minutes. The sound is a continuation of By the Waters of Tomorrow and can be seen as a further move towards the 70s Krautrock scene. In particular, Can and Amon Duul II seem to have influenced the Russian band to a great extent. The steady rhythms hold everything in place, while the synthesizers float above and the shimmering psychedelic guitar provides the melody lines. There are distinct breaks in the music, giving it more of a progressive rock edge than its predecessor. Perhaps best of all is the addition of flute on the first two tracks, adding just the right spice to the overall dish. I found this a nice return to form for Vespero and is worthy of a 4.5 stars on its own. Personally I don't think Zone Six is a good fit as a complement to Vespero. They are of the modern variety of space rock - bordering stoner metal - where fuzz overload and static rhythms are the order of the day. At 24 minutes, their sole contribution begins to get long in the tooth after about 10 minutes. It's a fine track for the style, but perhaps misplaced with the much more kinetic, and exciting (IMO) Vespero.

Ownership: CD: 2012 Transubstans (Sweden)

9/6/14 (new entry)

Kenso - Yume No Oka. 1991 Japan

Yume No Oka, Kenso's 5th studio album, shows the band reflecting back to their more symphonic era of Kenso II, with a strong nod of high gloss fusion that adorned Kenso III. I remember when this was released, and my friends and I were all quite enamored and impressed by the tones and complexity proffered. In the cold reflection of hindsight, perhaps it still has a bit too much of that late 80s and early 90s digitalitis, though overall it's held up well especially among its peers. Tracks like 'The Ancient in My Brain', 'Mediterranean and Aryan', 'Alfama', and 'The Fourth Reich' are timeless - and all pack a strong punch. Certainly one of the best pure progressive rock albums from 1991.

Ownership: CD: 1991 Electric Bird

9/5/14 (new entry)

Dakila. 1972 USA-California / Philippines

Despite looking like the bad guys from a vintage Hawaii Five-O episode, Dakila were a band from the Filipino immigrant community residing in the Mission District of San Francisco (a generation later, another Filipino group would emerge from the SF Bay Area, and that would be the excellent thrash metal band Death Angel). But this was 1972, and given the Latino influenced culture of the area, Dakila put no less a luminary than Santana on a pedestal and made a similar go for their fortune. The music contains copious amounts of passionate sustain guitar, chunky Hammond organ, fuzz bass, active Latin percussion, and soulful vocals. The latter sung in Tagalog, Spanish, and English. Dakila definitely have that Lowrider Soul culture in their veins as well, and Carlos' brother's band Malo is also very much in play here. Personally, I cannot possibly hear enough bands in this style, and many are favorites, especially Chango. Other reference points would be Macondo, Pantha, The Antiques, Naked Lunch, Azteca, and Broth. Absolutely killer stuff.

Ownership: LP: 1972 Epic. Single sleeve. Purchased this at Half Price Books in Dallas long ago (1992). It was a spec buy, but it certainly had the right look! Discogs only has this one photo. I should upload my copy.

CD: 2022 Guerssen (Spain). Fresh off the press. Comes with full liner notes (an interview from It's Psychedelic Baby). Apparently the tapes were sped up for the LP. I didn't do a side by side but I did notice a slight difference in sound. These days it's nigh impossible for me to buy a CD if I already have the LP, but I had to make an exception here. Music like this was made for driving!

1992; 9/4/14 (new entry); 1/16/23

Fusion Orchestra - Skeleton in Armour. 1973 England

Fusion Orchestra aren't a jazz, nor chamber, rock band. Rather they represent, to me at least, the swan song for the Post Psychedelic, Proto Progressive with Female Vocals sound, as I've documented via the link provided. Fusion Orchestra are a spirited bunch, and the music borders hard rock, with blazing heavy psych guitar at every turn (with some great solos). There's also a jazz undercurrent, and Jill Saward's voice (and she plays a mean flute too) is husky in that blues sort of way that was popular at the turn of the decade. This is one of the most kinetic albums of the genre, with multiple fast paced meter shifts and a wealth of ideas, and no fan of any of the genres mentioned above will walk away disappointed here. Jill Saward was just a cute teenager when she joined the band in the early 70s. Later she went onto be the professional blond bombshell leading the slick, and very popular, 80s jazz funk band Shakatak.

Personal collection
LP: 1973 EMI
CD: 2009 EMI (Japan)

UK originals come in a wonderful textured gatefold (first photo). As with a few of my albums, I actually found a new original LP copy at a local record store here in Dallas in the mid 1980s. I almost didn't buy it because of the unrepresentative name of the band. But as fortune would have it, I gave up a dinner that night, and now still proudly own that copy. As for reissues, they have been the sole proprietorship of the Asian market. Not sure why this album hasn't been treated to a UK specialist label like Esoteric with full liner notes, but these Asian reissues will suffice until then. The Japanese mini-LP I own is a perfect reproduction of the original in miniature.

Hominido - Estirpe Litica. 2014 Chile

Hominido was formed from the ashes of Le Desooorden, the fine Chilean group that we've featured in the past. Hominido features the rhythm section of the prior group, along with a new guitarist, and guests on violin and trumpet (also former Le Desooorden alumni). Most importantly they've recruited a female vocalist, thus giving the band its most distinctive quality from their previous endeavor. And I appreciate that she sings in her native Spanish. Hominido follows a similar path of crafting music that is highly creative, with a strong penchant for mixing of genres - but with a modern progressive sound, most notable in the extensive use of metal guitar. Perhaps most impressive is Hominido's dedication to diversity. On "Estirpe Litica" one will encounter the sounds of India ('Shalagram Shila'); Arabia ('Simun'); instrumental jazz/metal fusion ('Eterno Retorno'); ambient tropical ('Mi  Roca Interna'); progressive rock (title track); and atmospheric lounge ('Salar'). I was less impressed by the more straight-up prog metal like 'Cabeza de Piedra', 'Insano Devenir', and 'Adoquines Queretanos'. I had secretly hoped that 'Magma' would be Zeuhl influenced, but no such luck, though it's a fine neo psychedelic track in its own right, so yet one more style emerges.

For those who enjoy high minded concept albums, Hominido states that "Estirpe Litica" is a: "Conceptual album shows, through music, the ancestral relationship of humans with stones, narrating the changes that this causes them to be used in countless everyday situations related to the construction of homes, temples, worship elements tools, defense of rivers, major roads pavement ancient, aqueducts, etc." 

Overall Hominido has carried on the Le Desooorden legacy quite well. Those looking for adventurous progressive rock music and who tend to favor genre cutting, will find much to enjoy here. Recommended.

Ownership: CD: 2014 private

9/3/14 (new entry)

Kenso III. 1985 Japan

As foreshadowed on Kenso II, Kenso's third album goes all-in towards a powerful digital instrumental fusion sound. If there's ever an album that proves that modern technology didn't ruin progressive rock by itself, it's this one. The songwriting once again is top notch, and the compositions are complex yet melodic. The slicker tones do not detract, and everything sounds perfect for the music Kenso are trying to achieve here. As with the earlier Kenso albums, there's a myriad of ideas present within any bar of music, thus keeping the listener attuned at all times. While Kenso III doesn't quite hit the heights of its predecessor, no fan of instrumental symphonic fusion will want to miss this one.

Ownership: LP: 1985 Nexus. Single sleeve with obi and insert. Purchased from a good friend of the UMR (2016). 

My first copy was also this version of the LP acquired in 1990. Decided to swap out for the CD (1993 Nexus), but no need for the portable version in my current world. As a bonus it does contain 'Umi' from their debut which was not yet available on CD at the time, but I already have it now.

9/2/14 (new entry); 12/17/16

Fusion Orchestra 2 - Casting Shadows. 2013 England

Well, well, look who's back? I would not have thought of Fusion Orchestra that's for sure. Original guitarist Colin Dawson reformed the band, with 4 new players involved including the all important ingredient of a female vocalist - this time performed by the lovely Elsie Lovelock. Despite the new membership, the band sounds very much like an updated Skeleton in Armour, which is all one could - perhaps should, given the moniker - hope for. Lovelock's vocals retain that husky soulful jazzy tone that Jill Saward brought forth in the early 70s. And it's nice to see Dawson continue to carry a psychedelic sound in his energetic guitar playing. On the keyboard front, Ben Bell, it appears, has decidedly gone with modern gear - much of it representing the sounds of the past, so he has successfully accomplished what he set out to do. The compositions could have easily been composed in 1974 for a followup album, and I'm not sure I could pay a higher compliment than that. 'Cider Sue' is my favorite of the three main 10+ minute tracks presented. Certainly the material has a modern edge to it, and it would be unrealistic to expect different, but it seems a natural progression for the band, and does not come across as forced or contrived. Had this been a new band from 2013, that no one had heard of prior, I think it would be well received by fans of modern progressive rock. It's a tragedy this one escaped notice. Don't miss this one.

Ownership: CD: 2013 Patchwork Studios

9/2/14 (new entry)

Vespero - By the Waters of Tomorrow. 2010 Russia

Vespero continues on with their third album, titled By the Waters of Tomorrow. The band has shed most of their Southern Russian influences for a more straightforward Western European styled instrumental psychedelic rock sound (with 'Gao Zult' being the sole exception). Post rock and Krautrock seem to be the dominating genres here, with echo fuzz guitar, synthesizers, and a driving drum beat. The music on By the Waters of Tomorrow can be described as being relentless. This is a similar direction that Finnish bands Hidria Spacefolk and Taipuva Luotisuora took later in their career as well. Personally, I miss the localized exotic sound, but for what Vespero is trying to achieve here - they've done a more than admirable job. 'Amaryllis', 'Seagulls Sing (When It Rains)', and the aforementioned 'Gao Zult' are the highlights here.

Ownership: CD: 2010 RAIG. Jewel case. 4 page booklet with recording details.

3/11/13 (first listen); 9/1/14 (review / new entry); 7/23/24

Kenso II. 1982 Japan

Kenso II sees the band absorbing from their debut the most European instrumental progressive rock side of their sound. Flute is more dominant, keyboards are confident, and the guitar tones are stronger. The songwriting and melody quotient are off the charts in terms of successful execution. The Asia Minor, Camel, and Rousseau influences that penetrated some of the debut is given more focus, but taken to the next level of intricacy and complexity. And tracks like 'Hyoto' demonstrate that Kenso have not abandoned their Japanese roots and recall the wondrous 'Umi' from the debut. 'Brand Shiko' forecasts their future with its blazing fusion sound. One can see where Kenso may have as well influenced the up and coming talented Hungarian group Solaris. Already by their sophomore work, Kenso were creating beautiful tapestries of sound. This is the definition of instrumental symphonic rock. A magical album.

Ownership: LP: 1982 Pam. Single sleeve. Acquired from a friend (1990).

CD: 2002 Pathograph. Papersleeve edition. Bonus tracks are two cover songs performed live: 'Power of the Glory', a unique instrumental based on Gentle Giant's works, and PFM's 'Four Holes in the Ground'.

1990; 9/1/14 (new entry); 10/14/16