Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 14. November 2012, 10:30

Kenso / 76/77

Used drive : TOSHIBA DVD-ROM SD-R9012 Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 116
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\Exact Audio Copy\Wavpack\wavpack.exe
Additional command line options : -hlm %source%

TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 3:26.63 | 0 | 15512
2 | 3:26.63 | 6:25.50 | 15513 | 44437
3 | 9:52.38 | 8:17.42 | 44438 | 81754
4 | 18:10.05 | 7:34.47 | 81755 | 115851
5 | 25:44.52 | 8:09.21 | 115852 | 152547
6 | 33:53.73 | 8:09.46 | 152548 | 189268
7 | 42:03.44 | 6:38.15 | 189269 | 219133
8 | 48:41.59 | 8:02.04 | 219134 | 255287

Range status and errors

Selected range

Filename C:\_flac\Kenso - 76,77.wav

Peak level 98.8 %
Extraction speed 2.6 X
Range quality 99.9 %
Copy CRC 4996F083
Copy OK

No errors occurred

AccurateRip summary

Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database

None of the tracks are present in the AccurateRip database

End of status report

---- CUETools DB Plugin V2.1.3

[CTDB TOCID: VYnKiwkibpsyx5Uul2thCtVkEPA-] disk not present in database, Submit result: VYnKiwkibpsyx5Uul2thCtVkEPA- has been uploaded

==== Log checksum D316045F23383439C27365CEA44F7CD0D0B65C7E053D2068617FC7B694B2FE8A ====

REM GENRE "Progressive Rock"
REM DATE 2000
REM DISCID 620D4B08
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Kenso"
TITLE "76/77"
FILE "Kenso - 76_77 2000.wv" WAVE
TRACK 01 AUDIO
TITLE "Orugan Soysua No Higeki (Tragedy Of The Organist)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Sasurai No Atai (The Price Of Wandering)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 03:21:18
INDEX 01 03:26:63
TRACK 03 AUDIO
TITLE "Furiorosareita Yaba (The Blade Strikes Down)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 09:48:68
INDEX 01 09:52:38
TRACK 04 AUDIO
TITLE "Maybe I Dream On"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 18:06:35
INDEX 01 18:10:05
TRACK 05 AUDIO
TITLE "Sunshine Again"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 25:41:07
INDEX 01 25:44:52
TRACK 06 AUDIO
TITLE "Hakaba E To Mukau Ashi (Footsteps To The Graveyard)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 33:50:28
INDEX 01 33:53:73
TRACK 07 AUDIO
TITLE "Kasukararu Shido (A Faint Start)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 41:59:74
INDEX 01 42:03:44
TRACK 08 AUDIO
TITLE "Gokuraru Ni Iketara (If I Could Go To The Paradise)"
PERFORMER "Kenso"
FLAGS DCP
INDEX 00 48:34:14
INDEX 01 48:41:59

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

FILE: Kenso - 76,77.wv
Size: 383489946 Hash: 538C3E80EAEC14939E0394820B013144 Accuracy: -m0
Conclusion: CDDA 100%
Signature: 8A9765A8D5EF99E6F912715CBF6F1F8C1C418DCA

Kenso - 76_77 2000.wv
Kenso - 76_77 2000.wv.cue
cd.jpg
PATHOGRAPH PA2002.sig
back.jpg
Kenso - 76_77 2000.log
front.jpg
checkers\Kenso - 76,77.wv.auCDtect.txt
checkers\Kenso - 76_77 2000.accurip
checkers\matrix.jpg
checkers\spectral.JPG
checkers\wave.JPG
checkers\EAC.JPG
misc\info.txt
readme\[RUS] README No unpacking needed to play or burn this release.txt
readme\[ENG] README No unpacking needed to play or burn this release.txt
scans\booklet1.png
scans\booklet2.png
scans\cd.png
scans\front.png
scans\back.png

- Akira Ninomiya / drums
- Toru Ohya / keyboards
- Yoshihisa Shimizu / guitar, keyboards
- Masayuki Tanaka / bass
- Yoshiyaki Tsukahisa / vocals

Как-то раз, разбирая старые коробки в кладовке, я наткнулся на пару вещиц, оставшихся со школьных времён, о которых совершенно забыл: музыкальный журнал, заполненный от руки, и пластинка в конверте (ну, не нанастоящая пластинка, а самоделка, сделанная из картона и хлопковых нитей). В то время я уже основал свою первую рок-группу, и эти старинные артефакты напомнили о том, что даже в очень молодом возрасте я мечтал о собственных дисках. Помню, что все школьные годы я мечтал обнаружить свою пластинку в секции "Rock" соседнего музыкального магазинчика. Как многие уже знают, я вполне доволен, зарабатывая на жизнь стоматологической практикой (в моей собственной клинике), которая вполне удовлетворяет мои нужды. Тем не менее, чтобы быть до конца честным, в своё время мне не очень хотелось поступать в стоматологический колледж. Крайне напряженные дни учёбы были изнурительны, не говоря уж о том, что все мои одногруппники имели сильно отличающиеся от моих жизненные интересы, и надо признать, что в колледже я был чужаком. Среди этих суетливых дней я почти потерял музыкальные мечты и энтузиазм, но запись первого альбома KENSO, который был для меня знаковым, всё вернула назад.

Масаюки Танака так вспоминает об этом альбоме в своих заметках: "Я почувствовал облегчение, когда одна из моих жизненных целей была достигнута". Мы вместе играл музыку ещё со времен той самой картонной пластинки, и для него выпуск первого альбома KENSO совпал с активным началом охотничьей деятельности, которая была для него способом вернуться в реальный мир.

А я всё ещё все еще цеплялся за свою мечту. Именно в это время я встретил Харухико Ямамото, который убедил меня в том, что я был единственным, кто мог бы создать такую музыку, которую мы действительно хотели слушать, и убедил меня заняться первой настоящей записью KENSO.

Запись вышла зиму на мой пятый год учёбы в колледже. В следующие полтора года я был завален работой в качестве интерна и подготовкой к медицинской сертификации, и вообще не занимался музыкой. Тем не менее, по мере приближения к кульминации медицинского обучения мой дух окреп, я почувствовал свободу и смог выразить в музыке всё накопленное. В эти дни я написал несколько композиций, вошедших в KENSO II: "Sora ni hikaru", "Hyoto" и "Sayonara progre". После окончания колледжа в апреле состоялся первый концерт KENSO в паре с ACQUAPOLIS в SILVER ELEPHANT, этом токийском храме прогрессивного рока. После шоу в рамках подготовки к работе в студии мы занялись репетициями. Это была ещё та студия, - просто комната музыкального кружка колледжа, расположенная между раздевалкой спортсменов и душевыми комнатами, не имеющая никакого записывающего оборудования, за исключением 8-дорожечного магнитофона, который я только что купил на свои деньги. Оборудовав студию этим одиноким девайсом, я выдал всё, что имел, то, что должно было впоследствии появиться как KENSO II.

То, чем этот альбом был для меня тогда, можно описать только самыми страстными словами, которые ещё нужно найти. Когда я играю его сегодня, меня посещает дух молодости, который был готов умереть за рок, претворяя в жизнь свою любовь к музыке, и я нахожу это весьма обнадеживающим.

В конце концов, это была любительщина на самофинансировании, но, несмотря на отсутствие технических знаний и навыков, альбом позиционируется как вершина ранней стадии KENSO, а многие из песен по-прежнему играются на концертах. Некоторые поклонники называют KENSO II лучшим альбомом группы. Я ценю такую похвалу, понимая, что существует множество групп, которые никогда не имели такой положительной обратной связи, но мне хотелось бы воспользоваться возможностью и заметить, что для меня это была всего лишь отправная точка. Тем не менее, альбом действительно был высокой точкой творчества в юности, тем, чем я никогда не смогу пренебречь.

Теперь, спустя 20 лет после первого выхода альбома, я благодарен за возможность увидеть его еще раз на полках магазинов. В то же время, как и подобает музыканту, мой разум занят новым студийным альбомом, FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS, который был выпущен несколько недель назад. Кроме того, я был бы очень рад услышать одобрение нашими дорогими поклонниками других релизов, Yume NO OKA и ESOPTRON.

Наконец, несколько слов о бонус-треках: я никогда не забуду то впечатление, которое на меня произвела композиция PFM "Four Holes in the Ground". Я считал эту песню идеалом того, что я искал в новом звуке KENSO. Концертная версия песни, вышедшая на альбоме COOK, является одним из величайших спектаклей из всего того, что я слышал в музыке. KENSO играли эту песню на бис на нескольких концертах. Хотя есть и лучшие варианты исполнения этой композиции, все они страдают плохим качеством записи, что и определило выбор трека, вошедшего на этот диск.

На моей 45-летие,
19 апреля 2002
Yoshihisa Shimizu

As the remarkable memory of Yoshihisa Shimizu serves with regard to the production and release of KENSO II, the album marks a special place in the history of KENSO. It was released as a self-financed LP by Record House PAM, which is an independent label specializing in the altruistic service of releasing underground progressive/avant-garde music (besides functioning as a retail shop for import and second-hand records), in a limited pressing of 1,000 in December of 1982. (PAM had also released KENSO's first album in 1980.)

By the time of its release, as happened pretty much everywhere else, the Japanese music industry had labeled and filed progressive rock as a relic in the museum of popular music sub-genres, never to be seen again. Proof of this phenomenon can be seen in magazine reviews a reviewer of one of the major music magazines bluntly dismissed KENSO II for "merely flaunting instrumental skills when elementary school kids play synthesizers today," and stating "the music is nothing more than retrospective despite its label of progressive rock."

Nonetheless, progressive rock was not dead, as KENSO II so eloquently proves. True fans of progressive rock remained, though reduced in number, when the majority of listeners turned to punk and new wave. It is quite interesting to look at some of the comments that Yoshihisa Shimizu collected from people, including fellow musicians, fans, and critics, as well as reviews from music magazines.

On the March '83 issue of MARQUEE, the progressive rock magazine has a raving review of KENSO II. In the write-up KENSO is placed at the foreground of a number of bands that have a fusion-oriented edge to their progressive rock stylings, such as CAI and ITOIZ from Spain, and ACQUAPOLIS, NEGASPHERE and OUTER LIMITS of Japan while also being compared to PFM, WEATHER REPORT, and GENTLE GIANT. Another largely circulated progressive rock magazine was FOOL'S MATE. The record review in the February '83 issue places KENSO above BRAND X due to the tight rhythm section on this album and in reference to the rich melodies, comparisons are extended to CAMEL, GOTIC, and FINCH.

Hiroyuki Namba is known for his numerous contributions to both pop and progressive rock acts reaching all the way back to the '70s, including the role played in his long-lasting prog band SENSE OF WONDER. He recalls the tremendous sensation when he first heard an album created by a dentist (KENSO), as well as another by an umbrella shop owner (Mr. Sirius). He calls the two bands treasures and threats at the same time for, as a professional musician of long-standing fame, he cannot help but being excited by the creative energy of their music. A fan wrote about his impression of KENSO II as being much smoother and more dynamic than the first KENSO album, and would hold this album as his own personal favorite.

Norio Nakagawa of ACQUAPOLIS, who shared the first live stage of KENSO, remembers when he met a young and nervous-looking medical student with an air of genius about him, who ended up becoming a close friend with common interests in the pursuit of progressive rock. The two would meet in their apartments and talk through the night about progressive rock and their music, and listen to their own recordings as well as those by well-established progressive bands such as PFM and GENTLE GIANT. For him KENSO II holds an enthusiasm that was otherwise missing throughout most of Tokyo's live music scene during the '80s. One fan reports his rather amusing, literally moving, experience when he heard KENSO II as a teenager with no prior knowledge of progressive rock. He was so inspired that he ran out and bought a complete multi-track recorder setup, which cost a fortune at the time (back in '84).

Masahide Matsuzaki, a music producer who has worked with many progressive-rock acts such as King Crimson, PFM, Caravan, and Phil Miller's In Cahoots (to name just a few), admits that he was totally blown away when he heard this one album, which was forcibly recommended to him by a record shop owner in spite of the modest cover design. While he heard influence by the likes of GENTLE GIANT, PFM, and HATFIELD AND THE NORTH, a well-established identity was already present, which would later be referenced by calling a certain style of music "KENSO-like." He takes pride in recommending KENSO to overseas correspondents as one of the few Japanese bands that will appeal to the most discerning critics throughout the world. Osamu Sakamoto, a music writer known for his elaborate Canterbury Family Tree, was also quite touched by this album when it first came out. His impression is effectively summarized in the last sentences of his comments: "The biggest clue to analyze what makes KENSO is found on this album. For KENSO, which continues to progress ahead, KENSO II is a most important milestone that marks both the past and future of the band and, for the fans, it will always be the one to go back to." In December 1982, KENSO II was a novelty in more ways than one. Through the following two decades it became a valuable rarity sought by many fans around the world. In 2002 we are graced by two significant KENSO releases: the magnificent new studio album FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS, and KENSO II, the turning point of KENSO's everlasting progression. If this isn't coming full circle, it may well represent the formation of a great ongoing spiral one that radiates brilliant ardor for creative minds in music.

Tatsurou Ueda
KENSO International Aff,

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 6. August 2010, 18:52

Kenso / Kenso II

Used drive : SONY DVD RW DRU-840A Adapter: 0 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\!tools\wavpack.exe
Additional command line options : -hlm %s

TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 6:22.10 | 0 | 28659
2 | 6:22.10 | 2:05.33 | 28660 | 38067
3 | 8:27.43 | 4:20.57 | 38068 | 57624
4 | 12:48.25 | 6:12.60 | 57625 | 85584
5 | 19:01.10 | 4:34.34 | 85585 | 106168
6 | 23:35.44 | 3:55.11 | 106169 | 123804
7 | 27:30.55 | 3:45.14 | 123805 | 140693
8 | 31:15.69 | 7:06.30 | 140694 | 172673
9 | 38:22.24 | 4:19.14 | 172674 | 192112
10 | 42:41.38 | 7:45.65 | 192113 | 227052

Range status and errors

Selected range

Filename C:\_EAC_tatuk\Kenso - Kenso II.wav

Peak level 98.8 %
Range quality 100.0 %
Copy CRC 43998271
Copy OK

No errors occurred

AccurateRip summary

Track 1 cannot be verified as accurate (confidence 2) [D97BEC4A], AccurateRip returned [9F311333]
Track 2 cannot be verified as accurate (confidence 2) [67C4A44A], AccurateRip returned [07CD4D5A]
Track 3 cannot be verified as accurate (confidence 2) [1D4759B9], AccurateRip returned [BB2095F9]
Track 4 cannot be verified as accurate (confidence 2) [A74E1560], AccurateRip returned [34DC6626]
Track 5 cannot be verified as accurate (confidence 2) [F4220295], AccurateRip returned [C01A049D]
Track 6 cannot be verified as accurate (confidence 2) [117A11BF], AccurateRip returned [CB834330]
Track 7 cannot be verified as accurate (confidence 2) [3E118EF4], AccurateRip returned [04CAD0ED]
Track 8 cannot be verified as accurate (confidence 2) [3F7F9499], AccurateRip returned [28BA542A]
Track 9 cannot be verified as accurate (confidence 2) [3F3949A3], AccurateRip returned [3856AE85]
Track 10 cannot be verified as accurate (confidence 2) [D6DE0C7C], AccurateRip returned [479D84D1]

No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database

End of status report

REM GENRE "Progressive Rock"
REM DATE 1982
REM DISCID 810BD30A
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Kenso"
TITLE "Kenso II"
FILE "Kenso - Kenso II.wv" WAVE
TRACK 01 AUDIO
TITLE "Sora Ni Hikaru"
PERFORMER "Kenso"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Anesthesia Part1"
PERFORMER "Kenso"
INDEX 00 06:19:22
INDEX 01 06:22:10
TRACK 03 AUDIO
TITLE "Anesthesia Part2"
PERFORMER "Kenso"
INDEX 01 08:27:43
TRACK 04 AUDIO
TITLE "Hyoto"
PERFORMER "Kenso"
INDEX 00 12:45:50
INDEX 01 12:48:25
TRACK 05 AUDIO
TITLE "Brand Shikou"
PERFORMER "Kenso"
INDEX 00 18:56:20
INDEX 01 19:01:10
TRACK 06 AUDIO
TITLE "Harukanaru Chi E"
PERFORMER "Kenso"
INDEX 00 23:32:41
INDEX 01 23:35:44
TRACK 07 AUDIO
TITLE "Naibu E No Tsukikage"
PERFORMER "Kenso"
INDEX 00 27:26:26
INDEX 01 27:30:55
TRACK 08 AUDIO
TITLE "Sayonara Progre"
PERFORMER "Kenso"
INDEX 00 31:14:06
INDEX 01 31:15:69
TRACK 09 AUDIO
TITLE "Power Of The Glory"
PERFORMER "Kenso"
INDEX 00 38:12:54
INDEX 01 38:22:24
TRACK 10 AUDIO
TITLE "Four Holes In The Ground"
PERFORMER "Kenso"
INDEX 01 42:41:38

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

FILE: Kenso - Kenso II.wv
Size: 344563450 Hash: E66F784E6C63E3681BD4A24AA1C43E80 Accuracy: -m0
Conclusion: CDDA 100%
Signature: F026A256D79B2875EA332CAFB84F6E8E655DD092

cd.jpg
Kenso - Kenso II 1982.wv
Kenso - Kenso II 1982.wv.cue
back.jpg
Pathograph PA-2504.sig
artist.jpg
Kenso - Kenso II 1982.log
front.jpg
checkers\Kenso - Kenso II 1982.accurip
checkers\Kenso - Kenso II.wv.auCDtect.txt
checkers\matrix.jpg
checkers\spectral.jpg
checkers\wave.jpg
checkers\EAC.jpg
misc\info.txt
readme\[ENG] README No unpacking needed to play or burn this release.txt
readme\[RUS] README No unpacking needed to play or burn this release.txt
readme\Kenso.txt
scans\cd.png
scans\front.png
scans\overlap.png
scans\poster-back.png
scans\poster-front.png
scans\back.png

Yoshihisa Shimizu: guitars, keyboards
Atsushi Makiuchi: keyboards
Shiro Yajima: flute
Kimiyoshi Matsumoto: bass
Haruhiko Yamamoto: drums

Guests:
Masayuki Tanaka: woodwind
Sachiko Miyashita: vocals
Naoko Shimogaito: vocals

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

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 e ars, 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 Haidouks 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"/"Hyoto"("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

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 18. December 2012, 15:45

Kenso / Ken-Son-Gu-Su

Used drive : SONY DVD RW DRU-830A Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
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Used output format : User Defined Encoder
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Quality : High
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Command line compressor : C:\Program Files (x86)\Exact Audio Copy\wavpack\wavpack.exe
Additional command line options : -hlm %source% %dest%

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10 | 47:42.21 | 3:01.47 | 214671 | 228292
11 | 50:43.68 | 6:12.16 | 228293 | 256208
12 | 56:56.09 | 4:44.27 | 256209 | 277535
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==== Log checksum C76B965019617EE55AA2BFC633430A5AE65697C5A6F9A37B3BEA989A29627A2A ====

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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

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Kenso - Ken-Son-Gu-Su 2000.wv
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- Keizo Kawano / keyboards (1 to 6)
- Kimiyoshi Matsumoto / bass (1 to 6)
- Kenichi Mitsuda / keyboards (9 to 14)
- Masayuki Muraishi / drums (7 to 14)
- Kenichi Oguchi / keyboards (all)
- Shunji Sægusa / bass (7 to 14)
- Yoshihisa Shimizu / guitar (all)
- Haruhiko Yamamoto / drums (1 to 6, 14)

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.м.н.

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 19. November 2012, 19:23

Kenso / Fabulis Mirabilibus De Bombycosi Scriptis

Used drive : SONY DVD RW DRU-830A Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
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Copy CRC A83F6986
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==== Log checksum C387E0D553F5C5289CA1C0EF001AFD4958F5EAAA8E056B200E05DF14E4F96F04 ====

REM GENRE "Progressive Rock"
REM DATE 2002
REM DISCID B60C930F
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Kenso"
TITLE "Fabulis Mirabilibus De Bombycosi Scriptis"
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TRACK 01 AUDIO
TITLE "Sei Bu Mon (Fist Of Fury)"
PERFORMER "Kenso"
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TRACK 02 AUDIO
TITLE "Kinyudansha Madrigal (The Cunning Madrigal)"
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TRACK 04 AUDIO
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INDEX 00 11:51:06
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INDEX 01 15:51:12
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INDEX 00 22:46:03
INDEX 01 22:49:07
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TITLE "Musoyo Kaidan (The Stairs For Dreaming)"
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INDEX 01 26:54:00
TRACK 08 AUDIO
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INDEX 00 52:02:00
INDEX 01 52:03:02

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

FILE: Kenso - Fabulis Mirabilibus De Bombycosi Scriptis.wv
Size: 360816138 Hash: 22E2730075332338EE22BAFFE364D1F1 Accuracy: -m0
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Kenso - Fabulis Mirabilibus De Bombycosi Scriptis 2002.wv
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- Yoshihisa Shimizu / guitars, synthesizers, bouzouki and other ethnic instruments
- Kenichi Oguchi / organs and synthesizers
- Kenichi Mitsuda / piano, accordion, and synthesizers
- Shunji Saegusa / bass guitars
- Masayki Muraishi / drums and V-drums

Guest:
- Keiko Kawashima / flamenco vocals and handclaps

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 18. December 2012, 17:06

Kenso / Utsuroi Yuku Mono

Used drive : SONY DVD RW DRU-830A Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\wavpack\wavpack.exe
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12 | 45:56.17 | 3:40.23 | 206717 | 223239
13 | 49:36.40 | 1:39.05 | 223240 | 230669
14 | 51:15.45 | 3:06.70 | 230670 | 244689
15 | 54:22.40 | 1:48.47 | 244690 | 252836
16 | 56:11.12 | 2:20.35 | 252837 | 263371
17 | 58:31.47 | 2:33.15 | 263372 | 274861

Range status and errors

Selected range

Filename D:\_NL+_by_TATUK\WV.ISO12\Kenso - Utsuroi Yuku Mono.wav

Peak level 100.0 %
Extraction speed 7.2 X
Range quality 100.0 %
Copy CRC 1771F0EB
Copy OK

No errors occurred

AccurateRip summary

Track 1 accurately ripped (confidence 2) [B7FEEFAF] (AR v1)
Track 2 accurately ripped (confidence 2) [B9ADF942] (AR v1)
Track 3 accurately ripped (confidence 2) [55FFCC29] (AR v1)
Track 4 accurately ripped (confidence 2) [A34B068F] (AR v1)
Track 5 accurately ripped (confidence 2) [33EEF836] (AR v1)
Track 6 accurately ripped (confidence 2) [3BE9E949] (AR v1)
Track 7 accurately ripped (confidence 2) [37329B15] (AR v1)
Track 8 accurately ripped (confidence 2) [C7898BC8] (AR v1)
Track 9 accurately ripped (confidence 2) [DE3FCEBF] (AR v1)
Track 10 accurately ripped (confidence 2) [11636AEE] (AR v1)
Track 11 accurately ripped (confidence 2) [9AF93760] (AR v1)
Track 12 accurately ripped (confidence 2) [D661DB6A] (AR v1)
Track 13 accurately ripped (confidence 2) [E10066D6] (AR v1)
Track 14 accurately ripped (confidence 2) [BE951243] (AR v1)
Track 15 accurately ripped (confidence 2) [37204203] (AR v1)
Track 16 accurately ripped (confidence 2) [DC34650B] (AR v1)
Track 17 accurately ripped (confidence 2) [4A034543] (AR v1)

All tracks accurately ripped

End of status report

==== Log checksum B7E132E2BFC7A8AD5ED45F61110D65FE9448CAF03F6A1258311BC92D44159674 ====

REM GENRE "Progressive Rock"
REM DATE 2006
REM DISCID FC0E5011
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Kenso"
TITLE "Utsuroi Yuku Mono"
FILE "Kenso - Utsuroi Yuku Mono 2006.wv" WAVE
TRACK 01 AUDIO
TITLE "Itamashiki Kaimei"
PERFORMER "Kenso"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Anokoro Moby Dick to"
PERFORMER "Kenso"
INDEX 01 02:30:20
TRACK 03 AUDIO
TITLE "Sokowamaa Sokohakatonaku"
PERFORMER "Kenso"
INDEX 01 06:52:02
TRACK 04 AUDIO
TITLE "Rhyme-stone in Cotswolds"
PERFORMER "Kenso"
INDEX 01 09:20:35
TRACK 05 AUDIO
TITLE "Ubud Neiribana Genchou"
PERFORMER "Kenso"
INDEX 01 14:11:35
TRACK 06 AUDIO
TITLE "Shiduka eno Tobira"
PERFORMER "Kenso"
INDEX 01 19:32:32
TRACK 07 AUDIO
TITLE "Kodama no Mau Joukei"
PERFORMER "Kenso"
INDEX 01 23:09:25
TRACK 08 AUDIO
TITLE "A Single Moment of Life"
PERFORMER "Kenso"
INDEX 00 27:14:50
INDEX 01 27:16:62
TRACK 09 AUDIO
TITLE "GOS"
PERFORMER "Kenso"
INDEX 01 29:29:70
TRACK 10 AUDIO
TITLE "Wakuwaku Lehigh Valley"
PERFORMER "Kenso"
INDEX 01 37:35:10
TRACK 11 AUDIO
TITLE "Kowakujima ni Uta wa"
PERFORMER "Kenso"
INDEX 01 40:47:60
TRACK 12 AUDIO
TITLE "Nitsunawa 6/8"
PERFORMER "Kenso"
INDEX 01 45:56:17
TRACK 13 AUDIO
TITLE "Kaze no naka no Fyilin"
PERFORMER "Kenso"
INDEX 01 49:36:40
TRACK 14 AUDIO
TITLE "Akatsuku ni Gakushiga"
PERFORMER "Kenso"
INDEX 01 51:15:45
TRACK 15 AUDIO
TITLE "Codon 1"
PERFORMER "Kenso"
INDEX 00 54:08:30
INDEX 01 54:22:40
TRACK 16 AUDIO
TITLE "Codon 3"
PERFORMER "Kenso"
INDEX 01 56:11:12
TRACK 17 AUDIO
TITLE "Codon 2"
PERFORMER "Kenso"
INDEX 01 58:31:47

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

FILE: Kenso - Utsuroi Yuku Mono.wv
Size: 409882840 Hash: EEC2857300640847399D412C2CC2311E Accuracy: -m0
Conclusion: CDDA 100%
Signature: DE619A9B6FA895E583CF6C70C80F1EFB066833B2

Kenso - Utsuroi Yuku Mono 2006.wv
Kenso - Utsuroi Yuku Mono 2006.wv.cue
King Record Co KICS 1269.sig
cd.jpg
back.jpg
Kenso - Utsuroi Yuku Mono 2006.log
front.jpg
checkers\Kenso - Utsuroi Yuku Mono 2006.accurip
checkers\Kenso - Utsuroi Yuku Mono.wv.auCDtect.txt
checkers\matrix.jpg
checkers\spectrum.jpg
checkers\wave.jpg
checkers\EAC.jpg
misc\info.txt
readme\[RUS] README No unpacking needed to play or burn this release.txt
readme\[ENG] README No unpacking needed to play or burn this release.txt
scans\back.png
scans\booklet01-12.png
scans\booklet02-03.png
scans\booklet04-05.png
scans\booklet06-07.png
scans\booklet08-09.png
scans\booklet10-11.png
scans\cd.png
scans\inlay.png

Yoshihisa Shimizu / guitars, synths, ethnic instruments
Kenichi Oguchi / organ, synths
Kenichi Mitsuda / piano, accordion, synths
Shunji Saegusa / electric and acoustic bass
Keisuke Komori / drums, V-drums

Guests:
Keiko Kawashima / Flamenco chanting and clapping
Hiroshi Nambu / rebab

Заокеанским фанам Кензо Данный альбом, "Спарта Нэйкед", - переосмысленная версия "Спарты" (альбома, который мы издали в 1989 году). "Спарта" была записана на аналоговом оборудовании, и, чтобы создать этот новый альбом, мы сконвертировали все трэки с оригинальных лент в цифровую форму.

Будучи лидером Кензо, до последнего времени я сам исполнял обязанности продюсера, но на этот раз я решил уступить эту обязанность Кенучи Мицуде, участнику нашей группы. Когда писалась оригинальная "Спарта", мистер Мицуда изучал музыкальную композицию в Токийском университете искусств, и ещё не был членом Кензо. Используя его таланты продюсера, мы смогли подойти к записи с более объективной точки зрения, и двигаться дальше, основываясь на лучших аспектах исходной записи.

Запись "Спарты" началась в 1987 году в сложной ситуации нехватки времени и денег. В рамках этих ограничений мы были не полностью удовлетворены качеством звука оригинального релиза. К тому же во время записи диска ударник Харухико Ямамото был заменён Масаюкой Мираиши, а Шунджи Саегуса сменил на басу Кимиёши Мацумото, что заметно повлияло на музыкальную составляющую группы. После того, как за такое продолжительное время "Спарта" была наконец записана, идея сделать новый ремастер долго крутилась у меня в голове, - и вот, в итоге, Кензо завершил этот процесс созданием "Спарты Нэйкед".

Пиано-версия песни "Бифука" (так называется городок на острове Хоккайдо), включённая в релиз бонус-трэком, напоминает мне о моём любимом музыкальном произведении, и мне приятно, что мистер Мицуда сыграл эту пьесу так прекрасно и эмоционально. "Хорошие дни, Плохие дни", финальный трэк "Спарты Нэйкед", был записан на концерте в августе 2008 года. С включением его в альбом вы можете насладиться игрой наших трёх великолепных барабанщиков: мистера Ямамоты, мистера Мураиши и мистера Комори.

Я бы хотел выразить свою искреннюю благодарность людям, живущим далеко от Японии, за их любовь к музыке Кензо и за их поддержку группы.

Ёшихиза Шимизу,
лидер Кензо.

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 17. January 2013, 12:39

Kenso / SPARTA Naked

Used drive : SONY DVD RW DRU-830A Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\wavpack\wavpack.exe
Additional command line options : -hlm %source% %dest%

TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 8:17.12 | 0 | 37286
2 | 8:17.12 | 5:52.63 | 37287 | 63749
3 | 14:10.00 | 3:51.13 | 63750 | 81087
4 | 18:01.13 | 4:29.31 | 81088 | 101293
5 | 22:30.44 | 7:12.07 | 101294 | 133700
6 | 29:42.51 | 6:00.05 | 133701 | 160705
7 | 35:42.56 | 6:10.15 | 160706 | 188470
8 | 41:52.71 | 0:33.61 | 188471 | 191006
9 | 42:26.57 | 7:12.25 | 191007 | 223431
10 | 49:39.07 | 8:19.43 | 223432 | 260899

Range status and errors

Selected range

Filename D:\_NL+_by_TATUK\WV.ISO14\Kenso - SPARTA Naked.wav

Peak level 97.6 %
Extraction speed 7.3 X
Range quality 100.0 %
Copy CRC 9F6DC555
Copy OK

No errors occurred

AccurateRip summary

Track 1 accurately ripped (confidence 1) [D9D26EEF] (AR v1)
Track 2 accurately ripped (confidence 1) [BDF879AC] (AR v1)
Track 3 accurately ripped (confidence 1) [CDF60E35] (AR v1)
Track 4 accurately ripped (confidence 1) [22DF1EAF] (AR v1)
Track 5 accurately ripped (confidence 1) [4B99D874] (AR v1)
Track 6 accurately ripped (confidence 1) [27981043] (AR v1)
Track 7 accurately ripped (confidence 1) [3182E6FF] (AR v1)
Track 8 accurately ripped (confidence 1) [02D33F1C] (AR v1)
Track 9 accurately ripped (confidence 1) [9B8976E7] (AR v1)
Track 10 accurately ripped (confidence 1) [37F8C9BE] (AR v1)

All tracks accurately ripped

End of status report

==== Log checksum D349F6C435C62834142416AC35DF8CD84505F1A8B2392E195FDFE9748A1D772A ====

REM GENRE "Progressive Rock"
REM DATE 2009
REM DISCID 900D960A
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Kenso"
TITLE "SPARTA Naked"
FILE "Kenso - SPARTA Naked 2009.wv" WAVE
TRACK 01 AUDIO
TITLE "Good Days, Bad Days"
PERFORMER "Kenso"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "BIFUKA"
PERFORMER "Kenso"
INDEX 01 08:17:12
TRACK 03 AUDIO
TITLE "The Stone of Golden Hair Village"
PERFORMER "Kenso"
INDEX 01 14:10:00
TRACK 04 AUDIO
TITLE "MISKATONIC"
PERFORMER "Kenso"
INDEX 01 18:01:13
TRACK 05 AUDIO
TITLE "PM"
PERFORMER "Kenso"
INDEX 01 22:30:44
TRACK 06 AUDIO
TITLE "GESSHYA SENKOH"
PERFORMER "Kenso"
INDEX 01 29:42:51
TRACK 07 AUDIO
TITLE "The Shadow over Innsmounth"
PERFORMER "Kenso"
INDEX 01 35:42:56
TRACK 08 AUDIO
TITLE "Neuro-Psychoma"
PERFORMER "Kenso"
INDEX 01 41:52:71
TRACK 09 AUDIO
TITLE "BIFUKA_naked <Piano version>"
PERFORMER "Kenso"
INDEX 00 42:23:58
INDEX 01 42:26:57
TRACK 10 AUDIO
TITLE "Good Days, Bad Days <2008 Live>"
PERFORMER "Kenso"
INDEX 01 49:39:07

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright © 2008-2010 y-soft. All rights reserved
http://y-soft.org

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

FILE: Kenso - SPARTA Naked.wv
Size: 369470436 Hash: 937B1162B5272B7CD116A12801D454F7 Accuracy: -m0
Conclusion: CDDA 100%
Signature: 6487BDB040ACCCFF32FCB86D9D6AAE2586CCC487

Kenso - SPARTA Naked 2009.wv
Kenso - SPARTA Naked 2009.wv.cue
cd.jpg
Pathograph PA3506.sig
back.jpg
Kenso - SPARTA Naked 2009.log
front.jpg
checkers\Kenso - SPARTA Naked 2009.accurip
checkers\Kenso - SPARTA Naked.wv.auCDtect.txt
checkers\matrix.jpg
checkers\Spectrum.jpg
checkers\Wave.jpg
checkers\EAC.jpg
misc\info.txt
readme\[RUS] README No unpacking needed to play or burn this release.txt
readme\[ENG] README No unpacking needed to play or burn this release.txt
scans\back.png
scans\booklet01-12.png
scans\booklet02-03.png
scans\booklet04-05.png
scans\booklet06-07.png
scans\booklet08-09.png
scans\booklet10-11.png
scans\cd.png
scans\inlay.png
scans\overlap.png

Yoshihisa Shimizu (gt)
Haruhiko Yamamoto (ds)
Kimiyoshi Matsumoto (bs)
Toshihiko Sahashi (key)
Kenichi Oguci (key)
Masayuki Muraishi (ds)
Shunji Saegusa (bs)
Kenichi Mitsuda (key)
Keisuke Komori (ds)