Bluestone Company ~ Japan

Supernatural Delight (2008)

When I'm out digging in the wilds, I'm always on the lookout for obscure new tunes to check out. When I found this one, I figured it was just another one of those dime-a-dozen blues CDs that are everywhere, and generally worthless. I was intrigued by the title though, and looking at the back cover it seemed like it might be psychedelic too. It was only 25 cents, what do I have to lose? As we joke at "The Bins", our collective gravestones will say "but it was only 25 cents".

I had no idea the band was Japanese until I put the CD in the changer and took a closer look at the booklet. After a brief synth introduction, tracks 1), 2), and 3) will proceed to blow your head off. Blues rock? Southern rock? Not on your life. Not even primo Allman Brothers. It sounds more like Ozric Ed Wynne got stuck in Tokyo and decided to jam with Happy Family and Kenso in between trips to Disk Union. It's been ages since I was this exhilarated about something post-2000. At least from a band I had no clue who they were.

It's not until 4) that, OK yes, it is a blues rock album after all. The star of the show is clearly guitarist Toshihiro Sumitomo, who plays a very raw and intense electric guitar throughout. It's exactly what I wanted from Stevie Ray Vaughan all those years ago. But Vaughan stuck closer to Texas Blues. Sumitomo is more like Blue Cheer Blues. His background is from a blues band called The Savoy Truffle. Another new name. 5) slows things down until Sumitomo gets bored and starts wailing about halfway through. 'Colonel Panic' is a cover song from an American jazz fusion band known as Jing Chi. Never heard of them either. 7) is another heavy blues song in the same tradition as 4). 8) is largely blues rock but there's some trippy trumpet at the end adding some much needed spice.

9) is none other than The Meters' 'Cissy Strut'. Heavy blues style and gets really psychy flipped out towards the end reminding me quite a bit of Frank Marino's later live works. The closer 'Desert Blues' really does conjure up the Arizona landscape, and Sumitomo provides the ethereal electric guitar to create the right aura.

Get this one.

Ownership: 2008 Grooveyard (CD). Booklet with recording details and a band photo. My copy is signed by all four members no less. Acquired in 2026.

6/23/26 (review)

Bluestone Company has two more albums with Texas blueser Chris Duarte. 

6/23/26 (new entry)

Osamu Kitajima ~ Japan

Dragon King (1981)

Picked this one up at an estate sale last week, and it's the first Kitajima album for me to hear outside of Benzaiten which is reviewed below.

A1 starts off with some disco strings and Japanese instruments. Closer to a novelty act than the seriousness of Benzaiten. The track improves though with some world fusion sounds. A2 is a highlight featuring some excellent Shakuhachi (Japanese flute). 

Then it's time to pay the bills lol. The next two tracks sound more like Peaches & Herb with Japanese traditional instruments sometimes used to supplement. There's the difference between 1976 and 1981 right there. No bueno. 

B1 is a return to form and, like A2, is a highlight mixing jazz fusion with Japanese culture. Then the poppy vocals reappear for the rest. I think what Kitajima was trying to achieve was a noble pursuit. However, the mix and match of styles is hokey at best. It's way too commercially oriented for fusion fans to take seriously. And it certainly wasn't going to find its way onto FM radio either. A failed experiment.

Source: 1981 Arista (LP)

5/21/26 (review)

Benzaiten (1976)

For the CDRWL I featured some extremely rare albums by Toshiaki Yokota (Primitive Community) and Rock Joint Biwa (Fulukotofumi). Kitajima's debut album fits squarely in the same mold. This is truly a world fusion - a melting pot of Western rock and Japanese indigenous music. Very few have pulled it off so well as Kitajima does here. Either they fall prey to new age sappiness, or worse, move towards amateurish exploitation. This is a serious work, and the type of rock influenced world music that still hasn't been explored much at all. I for one would like to hear more.

Ownership: 1976 Antilles (LP). Acquired in 1990.

1990; 2/23/11 (review)

5/21/26 (new entry)

Jun Fukamachi ~ Japan

Spiral Steps (1976)

I'd heard a couple of 70s Jun Fukamachi albums back in my CDRWL research days, both rating out well, though I never purchased anything. Until now. Spiral Steps is a new title for me, and the reviews sounded promising, so I grabbed a new CD online. Let's see how it goes.

The first two tracks are, to be nice, not really what I'm looking for. Both are funky fusion of the ear friendly variety, a sound that was all too common in the mid 1970s. While expertly played, it lacks the innovation or melodic immersion I'm seeking in that genre. Starting with the title track, Fukamachi moves towards jazz fusion, with complex horn charts, and rip roaring solos. The rhythm section is insane. This leads to the three part 'Scoto Phonobine', which takes the title track as a blueprint and runs with it. Type 1 is in the same jazz fusion style, Type II is atmospheric electronic (a welcome diversion), whereas Type III goes about destroying the studio with a fiery ending. Always the best way to end an album leaving one more satisfied than they probably should be. The album is inconsistent, and at times sounds more imitative than creative.

Another way to listen to Spiral Steps is to take in the wide array of keyboard timbres. Fukamachi possesses a smorgasbord of the latest keyboard technology 1976 had to offer. Which, in todays world, would be the preferred sounds over 2026's latest and greatest. Fender Rhodes, Hohner Clavinet, Hammond Organ M-6, ARP Odyssey, Minimoog, Solina Strings Ensemble, and Oberheim Digital Sequencer all get featured, some dramatically.

Not sure where I stand on this title, but I heard enough for this CD to earn shelf space. I'm sure, at some point, other Jun Fukamachi albums will find their way here, so I'll create a page.

Ownership: 2018 Universal Japan (CD). Booklet with liner notes in Japanese. Acquired in 2026.

2/23/26 (review)

2/23/26 (new entry)

Koenji Hyakkei ~ Japan

Angherr Shisspa (2005)

And now we get to the final Koenji Hyakkei in my collection, after having sold off the other four in recent years. Ironically this is the lowest rated album by the group on RYM, though still a relatively good grade. So maybe it is their best album after all lol. Will they let the compositions breathe, or pound every idea into the ground? Let's listen in.

Yea, this is a Koenji Hyakkei album alright. There is a distinct move to jazz here, something I called out on their latest album. Bassist Sakamoto Kengo remains the star of the show, and his style could have brought the band to another level. Bandleader Yoshida Tatsuya is certainly an excellent drummer, something that makes you wish the material was stronger. Piano from Kanazawa Miyako is also a highlight. Shrieking reeds and painful soprano vocals are a real problem though. And the compositions never seem to evolve in any kind of proper or exciting manner. It's like taking snippets of the most intense parts from Magma, Eskaton, and Zao and mashing them together in a frenzy of indiscipline. A failed experiment throughout. Not a terrible band by any means, and all five of their albums have moments of quality. Koenji Hyakkei are just not for me I guess.

Former ownership: 2005 Skin Graft (CD). Booklet with lyrics, nonsensical as they are. Acquired in 2010.

8/27/10 (first listen); 1/5/26 (review)

  

Dhorimviskha (2018)

Tatsuya Yoshida has a similar problem that he shares with Makoto Kawabata: Restraint. A lack thereof. Based on memory, there are at least a couple of Koenji Hyakkei albums I enjoy, primarily the two that precede this one (I've heard and own them all going back to 1994 - yes, 25 years of familiarity and that doesn't even count Ruins). So the talent and ability is there for certain. And there are times when Dhorimviskha is indeed excellent, particularly the breaks that feature the fine piano work of Yabuki Taku. And like Kawabata, Yoshida does know how to play his instrument of choice, and so his drumming remains excellent throughout. It must be said though that Sakamoto Kengo's bass work breaks rank from the style, and his playing is more in line with jazz fusion than Zeuhl.

The issue here is the band finds it necessary to bash everything into the turf over and over. Zeuhl requires style. Flair. I want a fine glass of wine, not mainlining heroin. The Los Angeles band Corima has proven one can go fast all the time, and still be fascinating. At times, this is like a thrash metal album that goes 200 MPH with the same riff. The vocals, perhaps the most crucial ingredient to Zeuhl, are more irritating than transcendent. And having a saxophonist in the band is way too dangerous for Yoshida. For those who like to shock and awe, Dhorimviskha is a fun play for unknowing guests. That's a trait of youth, not maturity - something Koenji Hyakkei should posses by this stage of their career. It's tiresome on the whole.

Source: 2018 Skin Graft (CD)

1/11/19 (review)

Other notes from 2023

Nivraym (2009) 

Another band I felt guilted to like, but I never really did. I never cared for Tatsuya Yoshida's brand of all-intense-all-the-time styled Zeuhl. The best part of Magma is their building and release of the climax. With a keen ear for melody. None of which are present with this band. I once owned them all. I still have Angherr Shisspa. Hopefully that one will still resonate positively whenever I get to it.

Former ownership: 2009 Skin Graft (CD)

Hundred Sights of Koenji (1994)

I bought this when it came out, very excited to hear the new sensation of Zeuhl. I didn't like it then much either. So naturally I kept buying all of their CDs and I kept this for 28 years. What the hell was I doing?

Former ownership: 1994 God Mountain (CD)

Also once owned Viva Koenji.

1/11/19 (new entry)

Kenso ~ Japan

An Old Warrior Shook The Sun (2024)

Continuing on with some exploration of new titles, that started with Jordsjo last week, we arrive at Kenso's latest. It has been ten years since Kenso offered us new material. It was also at that time I decided to write a complete band retrospective, that took over a month to complete. It's all documented below. Also, curiously, I haven't revisited any of those titles since either, excepting Kenso II a couple of years later. They're all due for one. Interesting to see the group using an English title, been many a year since they did that. Most of the song titles are in Kanji however.

The opening track is distilled Kenso. Their entire 50 year, 10 studio album legacy, all compiled into one 3:49 song. High energy, hard hitting, instrumental progressive rock, with a strong melodic sense. No one does it better. And seriously, if you've never heard Kenso before, you really will get an idea of their overall sound right here. Might save you some time and expense. :-) 

Be prepared for a busy and complex release. As with all Kenso albums, they are masters of the composition, and they throw a lot at you in a short period. No genre hopping or other gimmicks, but rather numerous changes that mesh seamlessly, all within the context of the song. They also continue to bring it in terms of hard charging rock, especially notable in the guitar, bass, and drums. While the music here is entirely familiar, it still sounds very unique. 

Kenso possesses a type of magic, one that very few groups have ever managed to achieve. The ability to stay exciting and relevant, even after five decades of doing - more or less - the same thing. I feel the same way about Iron Maiden. This isn't the constant evolution of a band like Embryo, but rather innovations-in-place.

I recognized the beautiful sounds of track 9 immediately. Sure enough, after matching the Kanji, it's a modern rendition of 'Hyoto' from Kenso II. 

As noted in my closing argument for Uchinaru Koe Ni Kaiki Seyo: "Reliable as they come, Kenso are. Yep."

Ownership: 2024 Nexus (CD). Tri-fold booklet with lyrics in Japanese and English, and recording details.

11/17/25 (acquired / review)
 

Uchi Naru Koe Ni Kaiki Seyo (2014)

And after another lengthy break of eight years, Kenso returns with their 9th studio album Uchinaru Koe Ni Kaiki Seyo. Breaking tradition, for Kenso that is, the band have returned with an album that is in large part a followup to the previous work. So no major changes in direction here with fusion, hard rock, avant progressive - but rather the band seems to have found a comfy spot on the sofa to sit on. And that sweet spot, as it were, is their patented instrumental symphonic progressive rock that they first put on display so proudly on Kenso II. The flute, however, is sadly long gone and that was a critical component to their early 80s sound. They have also chosen to close with yet another female vocal track, this time in the form of a more classically leaning soprano. The underlying music, though, is unmistakably Kenso (even if there's a bit of funky business, to give us the requisite curve ball). If I were to pick a highlight track, I would go with 'Voice of Sankhara' which represents the album well in concise form. So while Uchinaru Koe Ni Kaiki Seyo doesn't break new ground, or leave one's jaw on the floor, Kenso have definitely delivered yet another solid set of modern instrumental melodic rock tunes. Reliable as they come, Kenso are. Yep.

Ownership: 2014 Nexus (CD)

10/1/14 (acquired / review)

Utsuroi Yuku Mono (2006)

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: 2006 Nexus (CD)

3/5/07 (acquired); 9/27/14 (review)

Fabulis Mirabilibus De Bombycosi Scriptis (2002)

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: 2002 Nexus (CD)

2002 (acquired); 1/15/10; 9/20/14 (review)

Ken-Son-Gu-Su (2000)

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: 2000 Pathograph (CD)

4//01 (acquired); 9/18/14 (review)

Esoptron (1999)

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: 1999 Nexus (CD)

10//99 (acquired); 9/15/14 (review)

Yume No Oka (1991)

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: 1991 Electric Bird (CD)

1992 (acquired); 7/7/06; 9/5/14 (review)

Kenso III (1985)

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: 1985 Nexus (LP)

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.

1990 (acquired); 1997; 9/2/14 (review)

Kenso II (1982)

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.

The bonus tracks on the CD 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'.

Ownership: 

1982 Pam (LP). 

2002 Pathograph (CD). Papersleeve. 

1990 (acquired); 9/1/14 (review); 10/14/16

Kenso (1981)

Kenso, who have archival recordings going back to 1976, released their first studio album in 1981. It's important to note the music culture that Kenso grew up in to appreciate their debut album. By 1980, and flush with cash, Japan had become somewhat a fanatic nation for all things European - including the 1970s progressive rock movement. Italy, in particular, seemed to fascinate the fan / collector base. And it was common for wealthy Japanese businessmen traveling to Europe to come home with box loads of records to sell to the music shops in Tokyo. It is this market that ultimately propelled progressive rock back into the limelight worldwide - and throughout the 1980s, Japan was looked upon as a leading light for all things progressive rock. While there were certainly local bands trying to capture the spirit of what they were digesting, Kenso may very well have been the most successful. And so we hear an almost encyclopedic knowledge of European progressive rock being brought forth - especially albums with flute - bands as obscure as Rousseau, Asia Minor, Gotic, Ibio, and Dice are all clearly within the minds of a young Kenso. Not only that, but they also brought forth their own Japanese legacy to the table, like their landmark track 'Umi' which successfully mixes a Camel like sound with indigenous melodies. As well, the long piece here, the 15+ minute 'Kagome' demonstrates Kenso's appreciation for Japan's own early 1970s psychedelic past - a sound remnant of acts as diverse as Toshiaki Yokota, Food Brain, Far Out, and in particular George Hirota*. Going forward, they would shed the experimental bits and focus more on their accessible instrumental European progressive sound. As such, this album is looked upon as a bit of a departure and perhaps not up the quality of subsequent efforts. I see it as an equal, though a band still clearly seeking out a signature sound. 

Be sure to grab the CD, as it features six live tracks going back to 1976, of which I believe five of them are not represented anywhere else. Essential album if wanting to gain the entire Kenso experience.

* Our good friend Nobuhisa of Marquee (Tokyo) informs us that it is highly unlikely that Kenso would have known these obscure Japanese bands, as they were unknown even to hardcore collectors back then. He states - and most assuredly he's correct, having witnessed the events real time - that basically they came about a similar sound, and he states further "using Japanese motif within the context of western music was a common method for a Japanese musician to make "Japanified Western music" be it modern classical, movie sound tracks, Jazz, Rock / Prog." That makes sense to me as well.

Ownership: 1995 Arcangelo (CD)

6//96 (acquired); 8/22/14 (review)

Also have heard: Sparta; Music For Unknown Five Musicians

8/22/14 (new entry)

Crosswind ~ Japan

Crosswind (1978)

Starting with an obvious funk groove, Crosswind quickly shifts into a kinetic fiery fusion with the guitar way out front. He plays in a highly melodic fashion, making these songs much better because of it. Space Circus at the time of Fantastic Arrival is a probably a good place to put your mind before setting this on the turntable. Return to Forever and Santana would appear to be references for the talented band. I'm sure Billy Cobham as well given their moniker. Keyboards are provided by a female, an unusual twist to the usual all-male groups of the genre. She brings more of an atmospheric approach rather than the chops heavy style of the guitarist. Considering the melodic approach to jazz rock, Crosswind could be considered a precursor to Kenso, minus the flute. A splendid album, and a must for fans of Japanese jazz fusion.

Ownership: 1978 Elbon (LP). With insert in Japanese.

3/14/16; 5/26/17 (acquired); 10/27/25 (review)

Crosswind would release three more studio albums and two archival live albums. I have not heard any of them, but wouldn't pass up an opportunity to do so.

10/27/25 (new entry)

Pochakaite Malko ~ Japan

Laya (2004)

---March 2005

I loved Pochakaite Malko's debut, so now with KBB’s Akihisa Tsuboy on violin, I figure I’m in for a major treat. And I am! I sure find music like this so easy to listen to. Familiar, yet engaging. Creative, but not groundbreaking. This isn’t Cafeine = Ange more like Anglagard = SFF. Here it’s what? Weidorje / Zao / Daryl Way's Wolf? Same approach, different result. Heavy keyboards, thrashing violin, highly melodic, complex, with a great production.

---9/15/25

It's been 20 years since I heard either of Pochakaite Malko's albums. The first thing I noticed is there isn't guitar on the album and yet Tsuboy's violin often times sounds like one, which is quite cool. My recollection is this album was more steeped in the Zeuhl tradition. But it's clear they have an avant prog slant to them as well. The intensity recalls Happy Family with the violin giving it a Zao feel. But there's no chanting or Kobaian vocals here. One could also make an argument this is a heavy jazz fusion album, just like Tsuboy's KBB outfit. There are similarities between those bands as well. Categorization aside, Laya is a fun listen for those attuned to such sounds. It can be a bit overwhelming, and certainly not the kind of album for beginners. It's just too much at once, but not nauseous like related band Koenjihyakkei could be at times.

In case you're wondering, the band moniker is Bulgarian not Japanese.

Ownership: 2004 Tutinoko (CD). Booklet with photo and recording details.

3//05 (acquired / review); 9/15/25 (update)

Also own and need to review Pochakaite Malko (2001). They released one more mini album Doppelganger (2006) which I've heard but never owned.

9/15/25 (new entry)

Naikaku ~ Japan

Wheel of Fortune (2003)

---1/17/07

An aggressive and complex instrumental rock with the leads being shared by heavy guitar (not metal) and a contrasting flute. I was reminded of the obscure US group Atavism of Twilight, a sound that disappeared practically before it started. It’s more complicated than Argentina’s Tanger, but not too far off the mark. Kenso is another reference, but Naikaku aren’t as symphonic.

---8/18/25

I wrote the above for their next album Shell, which I heard first. That synopsis can certainly apply here to their debut as well. I obtained Wheel of Fortune about five months later in 2007, and that was my last listen. The opening of Wheel of Fortune might as well put an exclamation point as the final word on what aggressive guitar and flute can sound like. It sounds like Happy Family for the flute rock crowd. The music can sometimes veer off into a looser jazz motif. Only to return back to super tight heavy instrumental rock. And the guitar tone can get to the heavy metal point. Come to think of it, I hear some Praxis in their sound. It's more focused and less electronic oriented, but the guitar playing and jazz backdrop is what triggered the thought. I really enjoy the contrast between the beauty (flute) and the beast (guitar). The rhythm section is no slouch either. They're quite active and push the proceedings to a more kinetic level. Final track is a cover of Focus' 'Hocus Pocus' which fits their sound like hand in glove. And the instruments they use to imitate the yodeling is hilarious.

The titles are in Japanese and some are quite bizarre. Someone made an attempt on Discogs to translate. 

Here's track 2: 'In Short, You've Just Changed "Point Of View", Don't You? It's Only A Superficial Part, Right? Modern? Or Post-Modern? We Don't Care. Go Home! Go Back To That Sea!'. 

And track 4: '629 Items In Trash Can And Using 380.1MB. Want To Delete These Items?'

Ownership: 2003 Freiheit (CD). Booklet with artwork and recording details. Acquired in 2007.

6/14/07; 8/18/25 (review)

Also own Shell.

Naikaku were a short-lived group who only made two albums. And one very obscure undated cassette according to Discogs

8/18/25 (new entry)

Ain Soph ~ Japan

A Story of Mysterious Forest (1980)

Ain Soph's debut is an island unto itself within the band's lengthy history. Starting as a Camel tribute band known as Tenchi Sozo, only dodgy live archival recordings exist, so it's difficult to critique their sound of the 70s. 

By 1980, the newly named Ain Soph were clearly influenced by all things jazz fusion. The opener demonstrating their adeptness at blistering Mahavishnu Orchestra type jazz rock. 'Natural Selection' sees the band consolidating many of the themes from Return to Forever's Romantic Warrior, mixing progressive rock with sunnyside breezy fusion. The first side closes with a more studied Canterbury styled piece complete with mellotron. Side two is completely different, calling on their progressive rock past, not really favoring any one band, but all the usual English suspects could be called out.

It would be another six years before Ain Soph resurfaced, this time with an album titled Hat and Field, and sounding nothing at all like a Canterbury group but rather a standard 80s jazz fusion was presented (see below). This would be the sound they took forward.

Ownership: 1980 Nexus (LP). With insert

1993 (acquired); 1995; 2009; 3/4/11; 6/21/25 (review)

Hat and Field (1986)

When you boldly go forward with a name like Hat and Field, it better be meaty, complex, charming, and melodic. And you can tell that is what they’re trying to do. But it has a 1986 new agey production and period instrumentation that takes both the meaty and charming parts out. It’s mildly complex. The melodies aren’t too bad, but a tad too breezy. Bands like Machine and the Synergetic Nuts have proven the Japanese are more than capable at this type of sound. Ain Soph were a prog band at heart, but couldn’t seem to master the logos of it all.

Former ownership: 1986 King (LP)

2006 (review)

6/21/25 (new entry)

Bi Kyo Ran ~ Japan

Who Ma Live Vol. 2. (1982-1983)

There was a time when I was really into these type of mostly instrumental King Crimson bands. Borrowing heavy from KC's Starless and Bible Black era, Bi Kyo Ran mixed the rigid discipline of angular and circular guitar patterns with that of free improvisation. It's another type of sound that I have too much of, even though Who Ma is a fine example of the style - once you adjust your ears to both the sound recording and the odd vocal patterns.

Former ownership: 1993 Belle Antique (CD). Acquired in 1993. Downsized in 2024. Also once had the LP.

1993; 9/20/24 (review)

Kyobo na Ongaku (1997)

Bi Kyo Ran burst onto the scene in the early 1980s with an album that was very much patterned after King Crimson's Larks Tongues to Red era. After experimenting with that sound further and bringing in some different styles, Kyobo na Ongaku is a return to the debut. It's a very intense work, perhaps exhausting at times, but adding a full time 4th member on keyboards does help break the monotony. And since his keyboard of choice is mellotron, that helps even more with softening the constant barrage of guitar, bass, and drums.

Former ownership: 1997 Freiheit (CD). Booklet with lyrics in Japanese. This is the original pressing. One year later, Musea issued it under the title A Violent Music. My copy did not have an obi - nor does any other copy I have seen. Acquired in 1998. Downsized in 2025.

1998; 12/11/20 (review)

Also own: Bi Kyo Ran (1982); Parallax

12/11/20 (new entry)

Ars Nova ~ Japan

The Book of the Dead (1998)

I concluded my review of Ars Nova's final album Seventh Hell with "Their first three albums are likely to be permanent fixtures of the collection given my personal history with the band, and their fourth is TBD. Otherwise I either didn't buy, or keep, the others. I prefer their more traditional progressive rock keyboard trio albums."

And here we are evaluating that fourth opus, which I haven't heard since I first bought it 23 years ago. The album starts off, as I expected, in keyboard trio ELP via Italy bombast mode, but as it went along, I did pick up something a bit different on this release. One is the obvious Egyptian styled interludes which tie back to the album concept. They're almost at the novelty level, but I can appreciate what they're attempting to do. That alone wouldn't move the needle. What was more interesting to me is that The Book of the Dead sounded oftentimes like an electronic rock album versus symphonic prog. I read a few reviews to corroborate my findings, and I haven't noticed anyone else picking up on that. I think part of the reason for this sound is that Ars Nova at this point were really a duo of keyboards and drums. They had the ex-bassist of Deja-Vu helping out, but he's clearly a session player here. And Keiko is breaking out the sequencers on more than one occasion. That's a unique enough diversion for me to consider holding onto this title for longer. Overall I enjoyed a +1 listen. And that should close the lid on my Ars Nova collection. I still need to revisit and document Transi and The Goddess of Darkness, but I anticipate both making the cut for different reasons, that I'll get into at that time.

Ownership: 1998 Musea (CD). Booklet with recording details. Acquired in 2001.

2001; 1/16/24 (review)

Seventh Hell (2009)

Ars Nova's swan song goes out swinging and takes no prisoners. Completely over the top bombast whilst keyboardist and band leader Keiko Kumagai takes her sex kitten routine to its logical extreme. After 17 years and two handfuls of releases, Ars Nova had nowhere else to go with the concept. Kumagai could have continued to take her ideas further into metal, S&M, and other extreme forms, but it would have been painful to watch and listen to a desperate person attempting to stay young. Better to retire gracefully. I almost kept this considering its no holds barred approach. But decided it's not really that interesting musically. Their first three albums are likely to be permanent fixtures of the collection given my personal history with the band, and their fourth is TBD. Otherwise I either didn't buy, or keep, the others. I prefer their more traditional progressive rock keyboard trio albums.

Former ownership: 2009 Altavoz (CD). Papersleeve. Acquired in 2014. Downsized in 2023.

5/24/14; 11/9/23 (review)

  

Fear & Anxiety (1992)

The all-female keyboard trio Ars Nova were a breath of fresh air that blew into the landscape in the early 90s. They proudly followed other such acts like Deja-Vu, Social Tension, Motoi Sakuraba, as well as the various acts that contributed to the Kings Boards compilation. It is this sampler where we find Naomi Miura's (Rosalia's keyboardist - Rosalia incidentally is an all-female progressive pop band) brilliant instrumental piece 'Corde Spirale'. This track, no doubt, provided the inspiration for Fear & Anxiety (Naomi is mentioned in the credits). Keyboardist Keiko Kumagai displays an enormous amount of talent and creativity as she composes all the songs and obviously directs the course of each track. Though she plays a myriad of modern day digital synthesizers, the centerpiece of her sound comes from those wonderful old analog machines - the Hammond organ and the Mini Moog. 'Dark Clouds' opens the album rather ominously with minimalist piano, and haunting synth voices. Then the rhythm section kicks in courtesy of the Saito sisters, Yumiko and Kyoko, and we're off into keyboard trio nirvana with '[dziha:d]' (I think something got lost in translation here...). Ars Nova consistently play with angst and passion! On 'House of Ben' Keiko produces a sound Black Sabbath would be proud of. 'Prominence' and the two part 'Fata Morgana' finish this work with a similar display of imagination and performance. Fear & Anxiety is strongly recommended for those into the aforementioned Japanese groups, legends such as ELP and Supersister, as well as anybody into innovative progressive rock.

Ownership: 1992 Made in Japan (CD). Die-cut booklet. Acquired in 1993.

1993 (acquired); 1/26/18 (review)

Android Domina (2006)

I realized after buying The Goddess of Darkness real time in 1996 that Ars Nova had little more to offer from a creative standpoint. Somewhere down the line I ended up with the next one The Book of the Dead, and my opinion remained unswayed. And here we are with Android Domina - a Japanese mini-LP I only bought because it was dirt cheap. Now we have the girls in full S&M regalia, and opening the album with mock orgasmic sounds. Honestly, they sound - and act - like a bunch of silly Japanese girls at a pajama party. Why they must tease the middle aged male dominated progressive rock crowd, is anyone's guess, but I suspect it is yet another "Lost in Translation" scenario. Because once that bit of tomfoolery is over, our gals get down to the serious business of keyboard dominated instrumental progressive rock. And they still have nothing new to offer. Can't dock them for the performance, it's all very good. Like Ozric in that way.

Former ownership: 2006 Altavoz (CD). Papersleeve. Acquired in 2013. Downsized in 2018.

12/22/13 (review); 4/9/18

Other albums I own: Transi; Goddess of Darkness

12/22/13 (new entry)

KBB ~ Japan

Four Corner's Sky (2003)

---April 2004

KBB is the logical extension of Kenso, with violin the instrument of choice rather than keyboards and flute. A shredder mentality sometimes gets in the way of composition, but this is far more varied, melodic and creative than your average million notes a minute release. Some Italian prog breaks are superb and a welcome surprise.

---11/28/23

Well, OK, not too far off. I was clearly trying to fit this album into a progressive rock mentality, and the last sentence remains true. But the music really belongs to fusion. Shades of Mahavishnu Orchestra are apparent. Credit to KBB for focusing on composition versus loose jamming. This is my first listen since then, some 20 years ago. But it's apparent that if I had this running day after day it would yield excellent results. My last listen to their debut Lost and Found also ended up with an excellent conclusion. 

Ownership: 2003 Musea / Poseidon (CD). Booklet with recording details. Acquired in 2004.

4//04; 11/27/23 (review)

Also own: Lost and Found.

KBB went on to release two more albums that I didn't pursue. I checked their Facebook page and it appears they last played live in 2020.

11/27/23 (new entry)

Kimio Mizutani - A Path Through Haze. 1971 Japan

In 1971, it seemed as if Kimio Mizutani contributed to at least 365 albums. So it's hard to imagine he also had time to release his first solo album. On A Path Through Haze, Mizutani brings along some of his like minded studio buddies such as Takeshi Inomata (drums), Masahiko Sato (organ, piano, Moog), and Hiromasa Suzuki (electric piano), along with 3 others on bass and vocals, a string quartet, and a woodwinds quartet. That's quite a crew! For a guy who is known for his unhinged fuzzy guitar solos as a guest, A Path Through Haze is remarkably subdued. Nonetheless, Mizutani puts together eight wonderful instrumental progressive rock tracks. Honestly this album has little to do with the experimental 1971 Japanese jazz/rock/psych landscape, but rather predicts the more measured prog rock scene of the mid 1970s. In particular I hear flashes of a band such as Camel circa Moonmadness. Often times you'll read that A Path Through Haze is a Canterbury album. While I doubt it was a major influence at the time, the musical conclusions of the two are similar. Fuzz bass, electric piano, searing guitar all within the confines of beautiful songwriting will draw those comparisons. Also of note is the very early use of the Moog synthesizer, still not a common presence in 1971, especially in Japan. 'Sail in the Sky' is my favorite of the eight tracks on display here, but every song is delightful. Easy recommendation to global progressive rock fans.

Ownership: CD: 1998 P-Vine. Wonderful thick gatefold mini-LP with an insert in Japanese. Also includes the original recording details in English. Purchased this real time at Other Music in Manhattan (which is sadly no more) - a nice brisk walk from my hotel in Chinatown. For all the summer of 1998 I had a DBA gig in Soho and would often times dine in Little Italy. Needed that walk.... 

BTW, if looking for an original LP, be prepared to get a second mortgage. I'm not sure I've actually ever seen this album. It looks like only one copy has sold on ebay over the years (the same album sold twice - lots of flakeroo buyers out there).

1998 (first listen); 6/28/15; 1/30/21 (review/new entry)

Far East Family Band - Parallel World. 1976 Japan

While Germany is most known for being at the forefront of electronic psychedelic music, Japan certainly had its share of cosmic travelers. One of the best of these groups was Far East Family Band, a band who would gain some stature throughout the world during the latter part of the 1970s. 

Klaus Schulze was one such luminary to be attracted by this large Japanese ensemble. Helping produce their early albums (the first two albums are very similar, the latter of which was re-recorded and sung in English, and other slight variations), Schulze saw an opportunity to promote cosmic rock all over the globe. However, I always felt the debut album/successor tried too hard to be the next Dark Side of the Moon. The instrumental bits are great only to be ruined by sensitive pop ballads - not Far East Family Band's strong suit I'm afraid.

But it all came together on Parallel World. Focusing on their instrumental cosmic sound and pretty much foregoing the pop commercial-oriented songs, the six-piece Far East Family Band unleashed a gem that easily could have found itself on the Kosmische Kouriers label. In fact, the recording comes closest to sounding like the first Cosmic Jokers album with more focus given to the whooshing synthesizers than the guitars (Schulze's influence?). As one can guess, the two keyboard players are featured most prominently, and it's hard to imagine that Far East Family Band actually had two guitarists as well!

The album opens with 'Metempsychosis' (Arzachel anyone?) which is a tribal drum and synthesizer atmospheric backdrop piece that sets the stage for 'Entering' which contains some intense fuzz bass and a ripping guitar sequence among the 12 minutes of keyboard ecstasy. Brilliant, and this is the finest track Far East Family Band has ever recorded! 'Kokoro', thankfully, is a short psych ballad. This is the sort of piece their first albums featured, so one can get a brief whiff of this style. The side long closing title track sounds like a long-lost Galactic Supermarket recording and aptly finishes a masterwork of cosmic progressive space rock.

Ownership: CD: 2009 Super Fuji. Purchased new online upon release. Fine mini-LP with the first press cover and original poster. One has to be very careful when looking for reissues of this title. There are only 2 legitimate presses that exist, as I write this. There are numerous pirate editions, so be careful!

3/3/01 (Gnosis) 

Mongol - Doppler 444. 1997 Japan

Regular readers of my blogs will know by now, high energy fusion / progressive rock is always welcome in my changer. And boy, does this fit the bill! Like a less raw Kenso, with perhaps a little too much 90's digitalitis going on - though nonetheless these guys just let 'er rip. And with plenty of meter changes for the hardcore progressive rock fan. So on the first 5 tracks, Mongol reminds me quite a bit of the great second album by Space Circus (Fantastic Arrival), but with a 90's production. So if that sounds good, this will serve you well enough.

And then....

WHOOOAAA! Hold the presses!

And then......... there's this 18 minute closer.

Would you believe me if I told you that 'Greatful Paradise' is the most intense Zeuhl styled song since the 'De Futura' track from Magma's Udu Wudu? Probably not. But the fact is I lost 5 pounds listening to it. See, there's that Paganotti styled fuzz bass counterpointed by alien keyboard sounds and shredding guitar. And then there's this possessed drummer not named Vander but.... OK, you get the idea. Want another Weidorje album? You like Zeuhl fusion? You need this.

Ownership: CD: 1997 Belle Antique

Originally reviewed for UTR Magazine: Aug 29, 1997 (and since edited). This Under the Radar is not to be confused with my current blog (though that's where I first came up with the name). I had completed 3 "issues" for rec.music.progressive (remember that forum?). I used to write them on the plane going back and forth from Denver to Milwaukee twice a week. Unfortunately I didn't stick with it.

8/29/97 (UTR); 5/26/20 (new entry)

Social Tension - It Remainds Me of Those Days. 1990 Japan

It wasn't that long ago I re-listened to, and added to the UMR, Social Tension's debut Macbethia. It Remainds Me of Those Days is a very similar experience, though even more retro sounding. This was long before the term "retro prog" even entered the lexicon. If you enjoy the heavy organ driven sounds of the early 1970 UK progressive rock scene, then Social Tension is an easy recommendation. Even considering the rather awkward vocals.

Ownership: CD: 1990 Made in Japan. Standard issue jewel box CD with obi. I do love the cover artwork on both of the Social Tension albums. Worth noting that the title is not a typo. Now whether or not Social Tension were purposely trying for a play on words with Reminds and Remains, I cannot say. A later compilation refers to it as Reminds, which of course makes more sense. Was part of a large collection buy in the late 90s.

Flower Travellin' Band - Satori. 1971 Japan

When talking great hard rock albums, here's yet another brilliant example. To be honest, I'm not a huge Flower Travellin' Band fan (though revisits are certainly overdue), but Satori is everything one could want from the style. Impassioned vocals, screaming electric guitar, tribal drums, indigenous themes, and just mayhem in general. Super.

Ownership: CD: 1991 Warner Bros. Old school jewel case with liner notes in Japanese, long before the mini-LP revolution. Has one bonus track.

1997 (first listen); 7/2/15; 3/16/20 (review / new entry)

Jiro Inagaki & His Soul Media - Head Rock. 1970 Japan

If you're at all familiar with the Japanese jazz scene of 1970, then Head Rock will come as no surprise. Albums like this were seemingly extinct at one point, until recent times have spotlighted the scene. Not that dissimilar from the film library albums coming out of Italy, Head Rock mixes jazzy instrumentation with psychedelic rock guitar and rhythms. The melodies are relatively safe, and this is no mindblower on the same scale as some of the Japanese albums from this era (British Rock Live in Japan, Genshi Kyodotai, etc...). But for grooving headphone bobbing moments, it's a pleasant ride.

LP: 2018 Columbia / Takt Jazz

Brilliant reissue with a thick gatefold cover. Originals, naturally enough, will cost you a mortgage payment - or 3. Best to stick with the reissues here I would think. There are 2 each for CDs and LPs. And while never cheap, at least affordable.

Hiromasa Suzuki - Silk Road Rock Joint Cither. 1973 Japan

Rock Joint Cither goes back to the heyday of our CDRWL research. We were digging deep into the mines of Japan, and new discoveries continued to surface on a regular basis. One of the earliest of those was the Rock Joint series. This title, as seen on the cover, was commonly presumed to be Silk Road and the artist as Rock Joint Cither (or vice-versa). Not too long after our "discovery", a CD surfaced for both. It was then that it was revealed to be pianist and jazzer Hiromasa Suzuki who was behind these recordings.

Cither is a "lost in translation" scenario. Cither is a synonym for zither, but of course the instrument in question is really a sitar. For Rock Joint Cither, the truth of the matter is there isn't much rock, beyond some of the deeper rhythmic grooves. Mostly this is a type of heavy straight jazz, as was played more commonly in 1970 with, not surprisingly, sitar blended in throughout. I find the album intriguing though not necessarily satisfying on the whole. Without a doubt worth hearing, but I didn't find it as revelatory as Rock Joint Biwa, the other album from the series.

Love Live Life (& related) ~ Japan

Kosuke Ichihara & 3L - Now Sound '75 (1975)

Now Sound '75 has the cool title, but the band name has been something of a mystery until recent times. Technically known as 市原宏祐 と 3L, the former translates to famed jazz saxophone & flutist Kosuke Ichihara, and the 3L denotes the recognizable Love Live Life. So the album really belongs to Ichihara, rather than the latter. We'll explain later...

As for the music, when I hear the term deep groove, this is exactly what the term means to me. Often times what it becomes is a catch-all term for funk, disco, or even straight out jazz. None of that here, as you'll need to put a jacket on since the music is so cool. Slow churning rhythms, with some splendid flute lines, atmospheric sax, and a smattering of fuzzy electric guitar that is always tasteful, never overbearing. Grab a tumbler, drop in some ice, pour a thimble full, close your eyes, and nod your head. Yea sure, put on a derby hat too. A couple of the tracks are of the smoky jazz variety, so much so, one gets cancer from the second hand cigarettes the vinyl puffs out of the grooves.

Ownership: 2017 HMV (LP)

Satsujin Jissho [Ten Chapters of Murder] (1974)

CDRWL review

No CD reissues for either as of 3/4/25.

9/3/10 (review)

12/21/18 (new entry)