Kenso
Fabulis Mirabilibus de Bombycosi Scriptis

I believe that these Kenso, who have been together since as far back as 1975, can be defined as the best band currently circulating in Japan. Their discography, although with rather spaced-out releases, is quite extensive, with ten studio albums starting from 1980 and seven live albums. Their music is a marvelous example of Jazz Rock - Fusion that is open to the symphonic side and the Japanese ethnic tradition, powerful in execution, excellent in composition, and astonishing in the use of individual instruments. The record I want to talk to you about is from 2002, perhaps not their best work, or the most innovative, but the first one I listened to and thus holds a certain sentimental value.

Fabulis Mirabilibus de Bombycosi Scriptis (The Fantastic Tales of Bombycosi) keeps the band's hard-earned reputation high. The complex textures, with sudden rhythmic variations (somewhat in the style of Brand X, National Health) and loads of synth often bordering on jazz dissonance, are here combined with guitars that, compared to the past, also tend towards vague metal flavors, but with bass - guitar interplays more typically Crimson-esque. The final result can also be attributed to classic prog themes with the harmonic refinement of certain PFM or some Gentle Giant pieces. All of this, being sprinkled with a good dose of Japanese tradition, creates a very personal mix, perhaps unique. Sometimes the guitars become rougher, and we savor Zeppelin-like echoes or those reminiscent of Jeff Beck, which are immediately "broken" to shift towards flamenco-like textures, then symphonic keyboard flights quickly calm down for folk moments. Continuous pirouettes and mood swings transport the listener as if in a rollercoaster ride, where the sublime technique is never an end in itself but always serves an exceedingly high harmonic act.

Among the tracks, I want to highlight the fantastic lyricism of "Kinyudansya Madrigal," the overwhelming and epic texture of "Echi dal Foro Romano," the incredible rhythmic acrobatics of "Toukai Jyokyoku" and the splendid Zeppelin-esque "Isolated Jiro."

In listening to albums like this, nothing is accidental, yet nothing is predictable. The unpredictability partnered with technique are elements that make Kenso a must-have band and, for those who wish to start loving them, this album could be a positive gateway.