Released 1996
Keiko Kumagai - All Compositions & Keyboards
Kyoko Kanazawa - Bass
Akiko Takahashi - Drums
ARS NOVA
Discography:
Fear And Anxiety /1992
Transi / 1994
The Goddess Of Darkness / 1996
The Book Of The Dead / 1998
Android Domina /2001
Official Artist Website:
http://www.progconcepts.com/arsnova/
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The Goddess Of Darkness 1996 Musea
It's not often you see all-female bands, let alone instrumental progrock ones. But here we have Ars Nova, a Japanese synth/bass/drums trio in worst EL-Pish way, serving up forty minutes of bombastic, well-played, dark, and rather boring symphonic rock. There's quite a bit of instrumental skill involved, and a few great melodies, harmonies and moods pop up every now and then, but this is a perfect example of music that rapidly grows boring.
Like ELP, these girls have taken a firm grasp of all that is overblown and tried to milk it for every synth trumpet they can get their hands on, but they strike me as lacking that songwriting prowess that is ever-needed for all sorts of bands. Yes, there's certainly fancy harmonies, generally things are compositionally sound and their solos are thankfully rather melodic, but it's just so frigging boring most of the time! The music has a certain commercial flare to it, and keyboard players might find it worth the while, but I have a hard time seeing anyone really coming back to this album for more than a few listens.
On the plus side most of the songs have moments that are truly enjoyable, but when surrounded by so much cheesy pap, those moments just don't make it worth the while. A fair amount of change in tones and patches also helps to keep things a bit diverse, though the music is generally either romantic-ish or supposed to be dark and aided by such ever-amusing tricks like loud screams to bind segments together.
If you really want something in the ELP vein, I would say Le Orme is a better bet, and while Ars Nova is far from the worst thing in the world, they tend to waltz down the middle of the road, making it a bearable listen, but one that yields very few fruits.
Review by Oystein Holm-Olsen
7/02
1. Kali - Demolition and massacre
2. Fury - The daughter and the simoom, after the simoom
3. Morgan - The fate awaits inevitable
4. Isis - She wakes the dead
5. The Gorgons - Never look at her eyes
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Last modified on Sunday, July 21, 2002
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(c) Satan Stole My Teddybear 1997-2002
Ars Nova - The Goddess of Darkness
Released: 1995
Label: Musea
Cat. No.: FGBG 4196.AR
Total Time: 40:38
Reviewed by: Clayton Walnum, June 2001
Fans of EL&P take note! You're going to adore these three lovely ladies and their powerful keyboard-based symphonic prog rock. These women kick serious butt. Comprised of Keiko Kumagai on keyboards, Kyoko Kanazawa on bass, and Akiko Takahashi on drums, Ars Nova cranks out one power-packed opus after another. Although EL&P is an obvious influence, much of this music is more complex then EL&P's ouvre, with enough musical ideas in a single cut to base an entire EL&P album on.
Most of the tracks on this album, which tend to be in the 10-minute range, travel at 100 miles an hour, with whirlwinds of notes flying in every direction and meter changes being as common as 4/4 time in a Britney Spears song. The energy here could power the space shuttle. One gets the feeling that it's almost impossible for these players to lay back for anything approaching mellow. Okay, there are a few quieter moments on the album, but they quickly mushroom into wonderful hurricanes of sound. I'm willing to bet that if you sat these three women in chairs, they couldn't sit still for more than a minute!
Seriously, though, this is symphonic rock at its most symphonic. It's easy to imagine a full orchestra performing these pieces -- and getting all hot and sweaty as they did. If I had to come up with a complaint about this album, it would be its almost relentless assault on the senses, but that would be a minor quibble. After all, if you need a break, you can always listen to only half the album at a time. (These days, CDs are so long, that I often do that anyway.) Yes, these ladies need to learn to relax here and there, but who really cares? I say if you can kick butt, do it.
More about The Goddess of Darkness:
Track Listing: Kali (9:21) / Fury (4:24) / Morgan (11:41) / Isis (4:41) / The Gorgons (10:30)
Musicians:
Keiko Kumagai - keyboards
Akiko Takahashi - drums
Kyoko Kanazawa - bass
Contact:
Website: www.progconcepts.com/arsnova/
Note: will open new browser window
Email: hiro@nac.net
Discography
Fear And Anxiety (1992)
Transii (1994)
Goddess Of Darkness (1996)
The Book of The Dead (1998)
Android Domina (2001)
Lacrimaria (2001)
The Goddess of Darkness
Musea (FGBG4196AR)
Japan 1996
Keiko Kumagai, keyboards; Kyoko Kanazawa, bass; Akiko Takahashi, drums
Tracklist:
1. Kali - Demolition And Massacre - 9:21
2. Fury - The Daughter And The Sinoom, After The Sinoom - 4:24
3. Morgan - The Fate Awaits Inevitable - 11:41
4. Isis - She Wakes The Dead - 4:41
5. The Gorgons - Never Look At Her Eyes - 10:28
total time 40:38
conrad
There are two reasons you might buy this album. If you're thinking of buying this album as an example of bombastic, synth driven, power trio rock, then I would be hard pressed to think of a better album. The songs are played with energy and the sound is very, very big. If, however, you're after an album that displays subtle compositional techniques, you'll be disappointed. There's enough of it here to get your hopes up, but not enough to really satisfy.
One thing is certain though, this album isn't short of ideas, and it jumps from one to the next with reckless abandon. I understand a lot of people like this style of music, but for me it's one of the more disappointing aspects of the album. Instead of segueing from one theme to the next, the music often stops awkwardly between. It's not that Keiko Kumagai is incapable of writing a smooth transition, as on a number of occasions she will do so, but more often she will opt for the less demanding stop-start method.
The triumph of this album, though, is the mood that it creates. The sound is something like music by Anglagard performed by Banco on Keith Emerson's keyboards. The mood is Gothic both in terms of the music and the album concept. The songs, however, could have done without their silly subtitles. Aside from the obvious ELP influence, the Italian scene has made a great contribution to the Arsnova sound, setting them apart from many other neo-prog bands.
In spite of a couple of surprising slips, the keyboard work is fantastic. A fun game to play at home is "Spot the keyboard god". You'll be able to recognise Keith Emerson, Gianni Leone (Il Balletto di Bronzo), Rick Wakeman and even Jeff Wayne as well as others. There is also a tasteful mix of analogue and digital synthesisers which very few groups manage to get right.
This album is an awful lot of fun, but falls short of its enormous potential. It's best listened to by somebody who's after loud, in your face, keyboard driven excess, but who's not afraid to listen carefully for the one or two exceptional moments that do occur.
4-9-03
A r t i c l e s
ART FOR ART'S SAKE . . . IN PARIS
By John "Bo Bo" Bollenberg
Ars Nova 1997 (l to r: Kyoko Kanazawa, Keiko Kumagai, and Akiko Takahashi; photo courtesy J Bollenberg)
A stones throw from the over-famous event hall in Bercy, Paris, is a small theater called "Theatre Dunois." It's a cozy little thing with incredible acoustics! Unfortunately the architect made some dreadful errors, meaning that every concert has to be finished by 10:30 PM as all of the neighbours complain of the noise!
Sunday 12th January '97 was no different as only a hundred or so prog-lovers showed up for an evening of instrumental complex music starring Drama from France and Ars Nova from Japan, both artists from the extensive Musea catalogue.
Drama are a five-piece from Rouen, France based around the incredible skills of guitar player Eric Azhar. Compared to some of their contemporaries, the band offers an elaborated sound due to the inclusion of a percussionist. Apart from a vast array of acoustic instruments Jean-Marc Leclerc uses a lot of interesting sounds from his Orla KX750 keyboard. At times this offers some nice duels between percussion and drums in the same vein as Collins and Thompson in Genesis. Unfortunately sometimes they even go as far as copying parts of "Los Endos," which must have been their major inspiration here! I must say I was also very impressed with the bass playing of Jean Francois Duboc who's a deadringer for Chris Squire. "Mascarade," a track from the debut album Drama was delivered in a splendidly dramatic way whilst the sound-mix of their performance was ace all around. Two new songs were played during their short set. In "La Magna Carta," at the end of the track, Richard Langlois produced some nice militaristic bagpipe tones from his keyboards, contrasting very well with the dreamy string section. Another new song was produced with Big Bang (a nice thank you from the band to the French prog-zine of the same name!) in which heavy drum sounds intertwine with eastern patterns to end with some hypnotic congas. Throughout the entire set I was impressed with the technical talent of each of the five individual players and the way they blend their skills to create something unique.
And there they were: our three Japanese girls, so tiny they'd easily fit in the glove compartment of your car. Although they look like they've just left Legoland, they play the most outrageous, adult, and complex music.
Akiko
(cN Kajiki)
All dressed up in an original kimono, drummer Akiko Takahashi took to the stage. To underline her roots she carried a lampion in one hand whilst waving a fan in the other: "fan-tastic!" And so was the music that Ars Nova chose from their albums Fear And Anxiety, Transi and Goddess Of Darkness [they have since released The Book Of The Dead].
Kyoko
(c N Kajiki)
Although not on the same level as say Dream Theater's John Myung, bass player Kyoko Kanazawa proved to be more than just a pretty face. She brought her own Rickenbacker bass with her from Japan, as otherwise it's difficult to obtain the sound she really wants. Certain fretless passages were really breathtaking! In between the tracks: a long silence as Kyoko tried to read some French words from the piece of paper which tour organiser Bertrand Pourcheron had quickly written for her. "Merci beaucoup" was spread over three syllables which took about ten minutes! But this naive behaviour perfectly contrasted with the adult contents of their complex ELP-flavoured music!
Halfway through the set producer Numero Ueno took to the stage. Not only is he the owner of Made In Japan records, he's also producer for bands such as Gerard, Magdalena, Outer Limits, Midas, Vermillion Sands, etc... In fact Ueno is a designer for theatre and film, and he creates his own "monsters," which are used in the fantastic Japanese film [industry]. Ueno also designs most of the sleeve designs for his artists. Tonight, the band and Ueno had brought a limited number of 3D sleeves with them for their Goddess Of Darkness album, again designed by Ueno! However, during the concert Ueno, started a small quiz consisting of about four questions. For each of the questions he had magnificent prizes such as several Japanese import CD's from his own label, a unique belt buckle he made himself, a promo package containing some rare Outer Limits stuff and a toy piano: the Japanese father Christmas was welcomed with open arms. And so was the second set of Ars Nova with tracks like "Dance Macabre," "Chase" and "Nova."
Keiko
(c N Kajiki)
Armed with a Prophet 600, M1 Korg, Hammond XB-2 + Lesley and Korg 01/W Keiko Kumagai made Rick Wakeman's cape look anything but original! Dressed in pink boxer shorts, white pantyhose and glittering socks she made the most difficult sections look dead easy. Meanwhile drummer Akiko had switched to boxer shorts with braces and psychedelic stockings, whilst Kyoko looked stunning in her black lacquered shorts, white stockings, and boots from the Gary Glitter era. Whilst they looked like they just left a teenage party they worked their way through the most incredible music with an impossible ease.
A long time ago we said that progrock was in urgent need of sex and humor. With Ars Nova you get both with an added bonus of some excellent music thrown in for good measure. Wonderful!
[Since this article was first written, Kyoko Kanazawa left Ars Nova; the newest member of the band is Mika, who joined in 1999. They were expected to be working on a new album through this June, but no additional info is available on this as of this writing - ed.]
Рок восходящего солнца
Второй коллектив, ARS NOVA, признаюсь честно, поразил меня намного больше, нежели BELLAPHON. Не будучи особо большим поклонником Кита Эмерсона и обоих его ансамблей - THE NICE и ELP, - я был сражен наповал, услышав музыку, сочиняемую ARS NOVA. Во-первых, не так уж часто встречается трио, состоящее из двух исполнителей на клавишных и барабанщика (семейное предприятие Wakeman & Wakeman не в счет) и играющее настолько "вкусно". Во-вторых (это "во-вторых" может оказаться более существенным, чем "во-первых"!) я вообще не припомню ни одного ЧИСТО ЖЕНСКОГО арт-рокового ансамбля.
Тем более из Японии. Еще более "тем более" - настолько очаровательного.
Но невероятное иногда имеет место быть. Итак, знакомьтесь: барабанщица Акико Такахаши, органистка и основной композитор Кейко Кумагаи и пианистка, скрипачка, синтезаторщица и вокалистка (вокал группа использует как один из инструментов) Мика Накажима.
Впрочем, ни одной из этих милых дам в первом составе ARS NOVA не было. Тогда, в 1983-м, группу образовали студентки Токийского университета Киоко Каназава, взявшаяся за бас, ударная мастерица Юмико Саито и пианистка Кейко Цубата. Ориентировались они изначально на творения ELP и TRACE (кто не знает, может поискать на "левых" компактах). За полтора года команда добилась некоторой известности. Почему некоторой? Ну, к примеру, господин Мицутака Каки не слишком знаком с ARS NOVA. Насчет взаимности, каюсь, не спрашивал - не этично как-то.
В 1985 году ансамбль произвел замену в составе: Кейко поменяли на Кейко - Цубата на Кумагаи. Тут группе и конец пришел. Отыграв только один концерт с ARS NOVA, Кумагаи-сан вышла замуж и сошла со сцены.
Прошло пять лет. Продюсер фирмы Made In Japan Нумеро Уэно каким-то образом смог уговорить амазонок собраться под знаменами ARS NOVA. В 1992-м дамы разродились первенцем под названием "Fear And Anxiety", а спустя два года на свет появилось и второе "чадо" - альбом "Transi". Влияние ELP ощущалось по-прежнему, но на него наслоились краски из палитры итальянских мастеров - GOBLIN, IL BALLETO DI BRONZO и в какой-то мере все тех же PFM. Успех в рядах поклонников добротного арта привел японское трио на сцену лос-анджелесского "Progfest '95", где девушки снискали расположение местных ценителей.
Изданная в 1996 году третья пластинка "The Goddess Of Darkness", несмотря на не слишком оригинальное название, представила на суд слушателей наиболее оригинальную музыку. Притом настолько оригинальную, что диск был выпущен не только в Японии, как предыдущие: ARS NOVA заключили зарубежный контракт с известным французским лейблом Musea. Для "раскрутки" весьма споро продававшегося альбома трио предприняло американское турне и два - два! - европейских. Сборник лучших композиций "The Six Singular Impressions" появился годом позже на более крупной фирме Trycle Records и оказался еще более популярным.
Но популярность - ноша тяжелая. Басистка Киоко решила расстаться с подругами; в качестве приглашенного музыканта ее заменил Кен Ишита из известной японской команды DEJA-VU. С ним в 1998 году была записана последняя на сегодняшний день программа ARS NOVA "Reu Nu Pert Em Hru" ("The Book Of The Dead"), темой которой стали события из древнеегипетской истории. По такому поводу не грех было устроить и небольшие мировые гастроли.
В прошлом году трио привело состав к новому двухклавишно-барабанному знаменателю, и уже с Мика Накажима ансамбль принял участие в выпущенном в Японии и Франции tribute-альбоме, посвященном классикам стиля, записав отличную версию "Tarkus" из репертуара ELP.
Репутация ансамбля в настоящее время весьма высока. Пока идет подготовка к записи новой пластинки "Android Domina", Кейко успела отметиться в известнейшем проекте AYREON. Да-да, это те самые скандинавы, пишущие metal-оперы и привлекающие к участию в них Ленни Вольфа, Брюса Дикинсона и прочих лучших. В их число и угодила мисс Кумагаи, сыгравшая партию "Хаммонда" на последней опере AYREON "Flight Of The Migrator".
Кипит, короче, рок в Японии. Умный рок - прогрессивный рок. НАМ БЫ ТАК!!!
На фото: BELLAPHON - Масахиро Торигаки, Мицутака Каки, Таикви Томие, Какухиро Нишимура
Дмитрий М. ЭПШТЕЙН
dm_epstein@usa.net
(c) Музыкальная газета
ARS NOVA
Пожалуй, японская прогрессивная группа Ars Nova является одним из немногих коллективов, которым на протяжении своей длительной истории удается сохранить свое "женское лицо". В течение уже почти 20-ти лет лидером команды остается композитор и клавишница Кейко Кумагай (Keiko Kumagai). Группа была основана студентками одного из Токийских университетов в 1983 году, когда в Японии начал набирать популярность симфо-прог. В музыке (кстати, всегда инструментальной!) японок без особого труда улавливается тень легендарных ELP и итальянцев Banco Del Mutuo Soccorso, однако неповторимый японский колорит и "восточное" мироощущение, при всей напористости музыки, всегда делал Ars Nova уникальным коллективом.
Свой первый альбом Ars Nova записала лишь в 1992 году. Через все творчество коллектива сквозит ветерок мистицизма. Не стал исключением и дебютник "Fear & Anxiety" (Made In Japan Records MJC-1007). Кумагай активно использовала Хаммонд и Мини-Муг, причем настолько удачно, что вкупе с интересными звуковыми эффектами Ars Nova достоверно воспроизвела атмосферу фильмов ужасов в лучших традициях итальянцев Goblin. Однако по-настоящему мрачной и страшной музыка подруг самураев, конечно же, не является - скорее, она таинственна и изысканна. Среди своих любимых музыкантов и композиторов Кейко называет не только вышеупомянутые имена, но и П. Чайковского, С. Прокофьева, Карла Орфа, Н. Римкого-Корсакова, а среди писателей - Говарда Ф. Лавкрафта. Несомненно, доброго слова заслуживают басистка Киоко Каназава (Kyoko Kanazawa) и исполнительница на ударных инструментах Юмико Сайто (Yumiko Saito). Впрочем, несмотря на определенный интерес, "Fear & Anxiety" и по сей день остается самой слабой работой группы. По-настоящему восхитительна на диске только одна композиция (самая продолжительная из шести): "Fata Morgana". Позже этот альбом был переиздан английским лейблом AMP Records (за номером AMP-CD038) с концертным бонусом "Nova".
Следующая работа японок заслужила у поклонников прогрессива значительно большего внимания. Альбом "Transi" (Made In Japan MJC-1006), также состоящий из шести композиций, оказался значительно более энергичным и оригинальным.
Но по-настоящему успешным стал третий релиз группы, "The Goddess of Darkness", выпущенный в июле 1996 года. Потрясающе вдохновенная и энергичная (просто не верится, что ТАКОЕ исполняют хрупкие жительницы Японии!) пластинка вывела Ars Nova в число лидеров не только современного японского арт-рока, но и возвела группу в ранг мировых звезд этого направления. Несомненно, на пользу коллектива пошла и смена ударника: теперь место за установкой принадлежало Аккико Таканаши (Akiko Takahashi). На диске нет проходных или слабых номеров, но любителям клавишных особенно придется по душе композиция "Ainsel", при записи которой были использованы исключительно пианино, сэмплы и необычные звуковые эффекты. Неудивительно, что на этот раз альбом был издан не только в Японии, но и в Европе: французский лейбл Musea не мог пропустить очевидного шедевра. Интересно, что в Европе и Японии диск вышел с разными обложками. В том же году Ars Nova выступила на фестивале ProgDay в Нью-Йорке, а в январе 1997 года совершила европейский тур. В июле 1997 года команда выпускает сборник лучших вещей "The Six Singular Impressions".
Успех "The Goddess of Darkness" был закреплен в сентябре 1998 года пластинкой "The Book of the Dead" (Франция: Musea FGBG 4255.AR). Группу покинула Каназава, и временно ее место занял Кен Ишита (Ken Ishita, ех- Deja Vu). Ars Nova продолжила линию предыдущего альбома, однако до самоповторов дело, к счастью, не дошло. Музыка коллектива стала несколько мягче, в ней стали улавливаться элементы японской народной традиции. Лучшими композициями диска можно назвать почти восьмиминутную "The Judgement of Osiris" и девятиминутную "Ani's Heart and Maat's Feather". Как и на предыдущем релизе, японские и европейские диски имеют ряд отличий. Помимо разных обложек, на французской версии между основными треками добавлены небольшие, но крайне занятные бонусы, придающие пластинке налет концептуальности. Японская версия альбома вышла под названием "Reu Nu Pert Em Hru" (Made In Japan MJC-1018), а кроме того, диск издан итальянским лейблом Black Widow Records в виде двойного альбома (BWRLP 032), в диджипэковой упаковке "под винил". На этой версии присутствуют два концертных бонус-трэка.
В 1999 году, совместно с земляками Gerard (также исполняющими прогрессив с упором на клавишные), Ars Nova записывают альбом - трибьют "Keyboards Triangle", на котором воздают должное клавишно-доминирующему арт-року времен его расцвета. Группы исполнили композиции таких команд, как: Il Balletto Di Bronzo, ELP, PFM, а также легендарного Рика Уэйкмана.
Последний на сегодняшний день студийный альбом группы "Android Domina" (Musea FGBG 4347.AR) вышел в 2001 году. Вместо Каназавы были решено взять второго клавишника. Сначала им стала Наоми Миура (Naomi Miura, ех - After The Rain), а окончательно вакантное местечко заняла Мика Накаяма (Mika Nakajima, также скрипка). На этом релизе музыка группа стала еще немного мягче и светлее, однако, такие вещи, как "Horla Rising" и "Bizarro Ballo di Maschera", не разочаруют и тех, кто любит "помрачнее". Действительно, трудно сказать, какая работа обьективно сильнее: "The Book of the Dead" или "Android Domina", одно ясно: лицом в грязь Ars Nova не ударила! Еще одним новшеством пластинки можно считать фоновый вокал Накаямы, использованный на нескольких композициях.
Дискография:
Fear and Anxiety (1992)
Transi (1994)
The Goddess of Darkness (1996)
The Six Singular Impressions (1997, сборник)
Reu Nu Pert Em Hru [The Book of The Dead] (1998)
Keyboards Triangle (1999)
Android Domina (2001)
Ars Nova Reviews
Website: http://www.progconcepts.com/arsnova/
Bookmarks: Biography ~ Keyboard Triangle ~ Android Domina ~ Lacrimaria ~ Biogenesis
From: Mark Fonda
Ars Nova - 'Transi' (Japan 1994)
You may be familiar with this Japanese female power-trio's most recent release called 'Goddess of Darkness' (1996). Their previous albums were originally released only in Japan and are called 'Fear & Anxiety' (1992) and 'Transi' (1994), but are also distributed by Syn-Phonic. The first album had a different drummer and was a bit lackluster in comparison, but Transi is a stunning keyboard classic. It highlights Keiko Kumagai's formidable skills in both playing and composing some very dramatic, dynamic and symphonic keyboard material. The music has a bit of a dark edge but is so fast and powerful that it would be hard to get the chills except by the sheer brilliance of the music. 'Goddess of Darkness' is more commercial sounding and to some could be a bit overblown, but 'Transi' is just pure keyboard intensity and virtuosity. It is currently out-of-print but last I checked, Syn-Phonic still carried a few copies. However, fear not because AMP Records (England) is re-releasing the first two albums very soon.
From: Mark Fonda
Jeff Marx wrote:
> np: Ars Nova--The Goddess of Darkness (musea version) More warm, fuzz-buzz, kick-butt analog synth.
Yeah, I like G.O.D. too (nice acronym). Great music and something about a foxy asian vixen playing a guitar... Oops, lost my train of thought! Anyway, are the first two releases of Ars Nova worth going after? (Transi and Fear & Anxiety). Does Syn-Phonic carry them? Plus I hear a British label is going to re-press them (would that be Cyclops?
From: Greg Young
Transi is really good also, comparable to Goddess of Darkness but maybe even darker in spirit. The Goblin influence really begins to shine through there. Fear & Anxiety (their debut) is not quite as well developed as the other two, it seems to be more derivative and doesn't have the same vision, but is still decent overall. There was also a diferent drummer on the first.
I think those two were only released on Made in Japan, and are currently out of print. However, as you mentioned, I have read they were going to be repressed in England, and actually are planned as a 2 on 1 CD if the report was correct.
From: "Jeff Marx"
>From Ars Nova website; http://www.progconcepts.com/arsnova/ Ars Nova has signed up with AMP records in England
Their 1st and 2nd CD will be released in England, The jacket design will be changed from japanese version and extra track live version of Nova from Progday'96 will be added.
From: "Jeff Marx"
It looks like the new Ars Nova CD is based on the Egyptian Book of the Dead and NOT the Tibetan Book of the Dead judging from the tracklist;
1) Prologue--1:35
2) Ankh--5:11
3) Interlude(1)Nut--1:11
4) The 42 Gods--5:15
5) Interlude(2)Anubis--:40
6) Field of Iaru--10:43
7) Interlude(3)Sekhem--1:03
8) The Judgement of Osiris--7:41
9) Interlude(4)Nephthys--:33
10) Ani's Heart and Maat's Feather--9:20
11) Epilogue(Hapi)--1:01
If only I could remember those old college courses that surveyed the Egyptian Book of the Dead...The Japanese import is now available--ordered it today from Syn-Phonic.
Ars Nova's new album, "Reu Nu Pert Em Hru," is a 45 minute, 10 second exploration into the creation of an exceptional musical opus. Based on the Egyptian book of the dead, the album is chock full of the compositional skill and musicianship that Keiko Kumagai is known for.
Also here are the sweeping instrumental statements, with all the trademark changes in instrument voicings, time, key, mood, and dynamic content; all moving in the blink of an eye. The music is even more dramatic and bombastic than Transi, with a fuller orchestral pallete. In terms of a symphonic treatise on keyboards goes, it's all here.
I've got the Japanese version which has skeletal liner notes(oh well). But the album consists of 5 major pieces connected by prologue, 4 interludes, and an epilogue(I think the Musea version will feature different interludes). If possible, I sense a slight increase in Keiko's use of analog patches including some nice sub-sonic moog-style bass (very welcome). The big change in the group is the loss of bassist Kyoko Kanazawa, but guest bassist Ken Ishita does a good job. I think it's the most mature work they've done to date, definetly one-up on G.O.D....breathtaking!
Got a sound clip on my site--plug...plug.... Jeff--- Karnevilj's Progressive Music Site http://www.geocities.com/SunsetStrip/Frontrow/7806/
From: "Richard Stockwell" (back to top)
As promised a review of the new Ars Nova.
ARS NOVA ... BOOK OF THE DEAD (Musea)
Tracks (11) Time (44.19)
1/ Prologue: RE 1.35
2/ ANKH 5.11
3/ Interlude 1: NUT 1.11 *
4/ THE 42 GODS 5.15
5/ Interlude 2: ANUBIS 0.40
6/ HELD OF IARU 10.43
7/ Interlude 3: SEKHEM 1.03 *
8/ THE JUDGEMENT OF OSIRIS 7.41
9/ Interlude 4: NEPHTHY'S 0.33 *
10/ANI's HEART & MAAT'S FEATHER 9.20
11/Epilogue: HAPI 1.01
* Special Bonus Tracks Only Available On Musea Release
Japanese band Ars Nova release their long awaited new release, Book Of The Dead. The band features Keiko Kumagai on all manner of keyboard's (she also wrote all compositions), Akiko Takahashi on Drums and Guest Bass player, Ken Ishita (ex Deja Vu). For those who aren't aware yet Kumagai & Takahashi are females.
Track 1 opens with the sound of many people's footsteps & voices as the crowd awaits the entry of their deity, the keyboard enters the picture with a fanfare to welcome the King (or Queen?) and then we are into track 2 (ANKH). Kumagai is straight into powerful keyboard playing with runs, stops & starts. The drumming compliments her all the way while Ishita's bass anchors the music. (Ankh is a tall cross with a loop on top, symbolizing eternal life and often appears in Egyptian personal names, such as Tutankhamen). Track 2 straight away stamps Kumagai's virtuosity as a keyboard player and composer. Track 3 is a short interlude which is of a classical nature and brings the influence of Italian greats Banco Del Mutuo Soccorso out of this short composition. The bass playing is the little secret touch in this track with Ken Ishita's little jazz like run. However the track is all too short at 1.11 secs. Track 4 takes us back into great keyboard playing that introduces the listener to more of Kumagai's superb playing. However even at this point I'm thinking "Hey slow down girl I can hear your great and know your way around the keyboard better than anyone since Keith Emerson, but develop those O too short themes with a little more feel". Track 5 brings another little interlude as the sound of an Eastern exotic stringed instrument is created on keyboards but at 40 seconds is over before you realize it. Track 6 "Held Of Iaru" is possibly the album highlight as a theme is this time developed with a little less rush. The musicians still go through stops, starts, twists & turns as they build the music. Kumagai plays classical piano pieces in the music as well as adding choir sounding backdrops then she is into Emerson territory, Italian keyboard style themes, then Vangelis influence. To use an old quote "she employs every trick in the book" to showcase her keyboard talents. Track 7 is back to the short sounding market bizarre sounding theme and I have to hand it to this lady through both main tracks and the short interludes she manages to keep the central theme of the music intact, that of a powerful picture of Egyptian eternal life in the now (Short interludes of life in the flesh) and the main tracks (the eternal Egyptian Gods). Track 8 is back into building a theme with all it's power and skills and for a fleeting few moments you can hear the influence of people like Tomita who recorded some classical works on Moog back in the 70's. Track 9 is another short interlude with the keyboard's having a xylophone effect added to them. Track 10 is another album highlight. More of the same but a different tune being built on. Akiko Takahashi is great on the drums and other percussion although her drumming sounds a little too far back in the mix and should be highlighted more as she is just as important to building the powerful themes of Ars Nova's music. Classical themes ala Stravinsky are featured with all their fiery torment and vivid splashes of colour. At nearly 8 minutes into the track the first mellotron sound is added to the music (Kumagai utilize it more please on the next album). The last track finishes with crickets chirping and a stringed instrument being played beside a babbling stream.
Conclusion: Stunning keyboard work that will leave you breathless but whether this album will stand up to the period of time as once you get past the technical perfection there is no one piece of music that remains forever stamped in your mind.
From: Mark Fonda
The MADE IN JAPAN RECORDS release seems to have all the same tracks but the names are slightly different and the total run time is 45:15. I listed the differences in the track names below (TO THE RIGHT):
> 3/ Interlude 1: NUT 1.11 * 3/ Interlude 1: HORUS 1.31
> 6/ HELD OF IARU 10.43 6/ FIELD OF IARU
> 7/ Interlude 3: SEKHEM 1.03 * 7/ Interlude 3: THOTH 1.27
> 9/ Interlude 4: NEPHTHY'S 0.33 * 9/ Interlude 4: SHU 0.45
So it looks like just the bonus tracks are named differently... I assume that track 6 is somehow mis-spelled??
> Track 4 takes us back into great keyboard playing that introduces the listener to more of Kumagai's superb playing. However even at this point I'm thinking "Hey slow down girl I can hear your great and know your way around the keyboard better than anyone since Keith Emerson, but develop those O too short themes with a little more feel".
Yes, my only complaint too... perhaps a little more maturity will 'temper' the style some.
All the tracks are just as you described, so I think the two releases are basically identical except for the bonus tracks 3,7 and 9. The additional 0:56 run time is all due to the slightly longer length of each of the bonus tracks.
Included below is a copy of the band's Press Release from Shingo Ueno, ARSNOVA's manager. (back to top)
(Courtesy Jeff Melton, ECSP ecsp97@aol.com ECSP Website : http://www.geocities.com/SunsetStrip/Arena/5077 )
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(ARSNOVA BIOGRAPHY)
ARSNOVA (Kyoko Kanazawa/ Bass, Yumiko Saito/ Drums, Keiko Tsubata/Keys) met at a university in Tokyo in 1983 and began playing songs by Emerson, Lake & Palmer (ELP). Soon thereafter, they developed a music influenced by ELP and TRACE, and ventured out into the underground progressive rock scene. Keiko Tsubata (Keys) left the band in 1985 and Keiko Kumagai (Keys) stepped in as her replacement. However, the former Keiko left to get married after the "new" ARSNOVA had played only one gig.
Five years later Made In Japan producer, Numero Ueno, met ARSNOVA and encouraged them to reform. The rebirth culminated with ARSNOVA's debut album, "Fear And Anxiety" (Made in Japan Records, 1992). Besides the ELP influence, the trio's sound was influenced by the likes of GOBLIN, IL BALLETO DI BRONZO and other Italian legends along with Japanese progressive rock bands, DEJA-VU and SOCIAL TENSION.
In 1994, ARSNOVA released their second album, "TRANSI" (Made in Japan Records 1994). The music, both compositionally and artistically, takes the ideas established in "FEAR AND ANXIETY" a step further with strong arrangements, performance and impeccable technique. "TRANSI" has sold very well in Japan ARSNOVA was very well received at their first U.S. gig (Progfest '95 in Los Angeles) and received high praise for their performance.
In 1996, ARSNOVA released their third album "The Goddess of Darkness" simultaneously on Made in Japan Records (at home) and Musea in France. This album was rated as "high order progressive rock" from fans all over the world and the group went into action performing live and promoting the album in earnest. They did a USA tour starting with "Progday '96, NC", and also played in Philadelphia, New York, and Baltimore in September '96 (with Mastermind). On their first European tour the trio played in Paris, Bordeaux (France), Wurzburg (Germany) in January '97. On May 25th, that year they played with Banco del Mutuo Soccorso in Tokyo.
The group did their 2nd European tour in '97 starting with London (UK), then the "Uden Festival" in Uden, Holland and finishing in Stuttgart, Germany in July. The band then contracted with major Japanese label, Trycle Records and released a compilation album (some regard as their best) "The Six Singular Impressions" released in July '97. At the time, many record companies were interested in releasing their albums or one song, so they also contracted with many other companies in the world for release. As a result, ARSNOVA is one of the best and most active international bands in the progressive rock scene now. Since '97 though the band has had another personnel change: Kyoko (Bass) left the band and they started recording a new album with Ken Ishita (Bass/ex-Deja- Vu) as guest player.
This new album, "Reu Nu Pert Em Hru" (originating from Egyptian Ancient history) was released on Trycle Records in Japan, Musea in France, AMP records in UK, Black Widow records in Italy (LP only) in September 1998. ARSNOVA are now currently finishing their first "Big World Tour 1998" (about 15 - 17 cities) across Italy, France, Holland, Germany, Poland, Sweden, England. The trio is finishing up in the US this October with the lineup of Keiko and Akiko with Naomi Miura (Keyboards/ex-Rosalia as support player).
BAND DISCOGRAPHY
1st CD "Fear and Anxiety" 1992 MADE IN JAPAN (JAPAN)/AMP (UK)
2nd CD "Transi" 1994 MADE IN JAPAN (JAPAN)/amp (UK)
3rd CD "The Goddess of Darkness" 1996 MADE IN JAPAN (JAPAN)/MUSEA (FRANCE)
Best CD "The Six Singular Impressions" 1997 TRYCLE (JAPAN)/ARS MUNDI (POLAND)
V.A. CD "Progressive's Battle '92" 1992 MADE IN JAPAN (JAPAN)
V.A. CD "Progfest '95" 1996 BELLE ANTIQUE (JAPAN)/MUSEA (FRANCE)
V.A. VIDEO "Progfest '95" 1997 BELLE ANTIQUE (JAPAN)/MUSEA (FRANCE)
V.A. CD "Zaraustra's Revenge" (Italian Rock Tribute) 1997 MELLOW RECORDS (ITALY)
V.A. CD "...E Tu Vivrai Nel Terrore" 1998 BLACK WIDOW (ITALY)
The new CD is entitle "Reu Nu Pert Em Hru" (--The Book of The Dead--) released September 1998 by Made in Japan Records (Japan), Musea (France), AMP records (UK), Black Widow records (LP/Italy) etc.
(CURRENT LINE-UP)
Keiko Kumagai (Keyboards, Music Composition)
Akiko Takahashi (Drums)
Naomi Miura (Keyboards/ex-Rosalia & After The Rain) (Tour Support Player)
Ken Ishita (Bass/Ex-Deja-Vu) (Recording Support Player)
Keiko Kumagai (keyboards and music composition) Keiko began her musical training on classical piano at a very young age. In 1982, she started to play progressive rock and some hard rock music. She was influenced how to play the keyboards by Toshio Egawa when she started to listen to Japanese progressive rock. She joined SYLPHIED in 1983 and over the next year, she began to play in the live underground scene. In 1986, she joined ARSNOVA and replaced Keiko Tsubata. By this time, Keiko Kumagai was composing all her own music, influenced musically and artistically by IL BALLETO DI BRONZO, GOBLIN, BANCO, ELP and something like this progressive Jan Svankmaier's surreal animation movie, S. Dali's surreal paintings, H.R. Giger's illustrations and some fetish arts.
Akiko Takahashi (Drums) Akiko began her first musical training on Percussion in Junior High School and she was a vocalist and keyboard player in high school. Soon she started to play drums in 1987, influenced by OUTER LIMITS, EINSTRUZENDE NEUBAUTEN, THE CURE, Danielle Dax, BIRTHDAY PARTY and some noise, metal beat and avant garde music. She joined NOTHING INSIDE (Avant garde and positive punk) in 1988 - 1994 and she joined DANBALL BAT (glam and psychedelic rock) in 1990, too. NOTHING INSIDE and DANBALL BAT released some EPs on independent labels. In 1993, she replaced Yumiko Saito of ARSNOVA. She has been playing drums in many bands for a long while. DANBALL BAT will release 1st album "True Love In The Eternity" on December 1998.
(Akiko's Discography)
Nothing Inside: EP "Oklahoma Calling" 1990 Oklahoma
Danball Bat: EP "Bridge Song" 1996 Oklahoma
CD "Sasori Cocktail" 1997 Captain Trip
Naomi Miura (Support Keyboards) Naomi was born in Kobe, Kansai area. She started progressive rock and hard rock influenced from Toshio Egawa (ex-NOVELA/GERARD), ELP and URIAH HEEP in 1984. She formed female progressive hard rock band "ROSALIA" had many live performances at Kansai area and they played with ATOLL at Tokyo in 1989. They released 1st mini album "Zillion Tears" and joined some omnibus albums in 1990. She formed AFTER THE RAIN with T. Aramaki (G/Outer Limits), M. Ohta (B/Social Tension) etc. in 1991 for real symphonic sounds. They released the promotional CD "Sheherazarde" in 1992. But they stopped action for her illness and big earthquake in Kobe 1993. Currently, she has joined ARSNOVA as support player for the Book of the Dead tour.
(Naomi's Discography)
Rosalia: CD "Zillion Tears" 1990 Made In Japan Records
VA, CD "Crime Syndicate" 1989 KING Records
VA, CD "Prospective Faces 1" 1989 M.I.J.
Naomi Miura: VA CD "Kings Boards" 1991 M.I.J.
After The Rain: CD "Sheherazarde" 1992 M.I.J.
Band Websites:
Official site: http://www.progconcepts.com/arsnova/index.html
Band Sound Bytes: courtesy John Szpara: Exposure Radio:
http://www.vradio.com/vr/html/nv/exposure/exposure.html#arsnova
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From: Jeff Marx (back to top)
Some interesting news from Ghostland (http://www.ghostland.com/)
Ars Nova has finished recording for a progressive rock tribute album with Gerard. Ars Nova covered ELP's "Tarkus", Trace's "King Bird", "Buree" and an Il Balletto di Bronzo song. Gerard covered ELP, Rick Wakeman, Banco and PFM songs. This will be released from Avalon/Marquee in Japan on July 21st. Musea will also release it with a different album cover. Ars Nova was unsuccessful in finding a female bass player in Japan, so they have decided to remain as a double keyboard trio.
From: Jeff Marx
Cross-posting from the ELP list: Hallo fans. I just received a CD called Keyboards Triangle. It is a new but expensive Japanese CD. Two bands are playing on it, Gerard and Ars Nova. Gerard plays: La Conquista Della Posizione Erata from BANCO, Catharine Parr from Rick Wakeman, Four Holes In The Ground from PFM, Toccata from ELP. Ars Nova: Birds Medley from TRACE, Epilogo from Il Balletto Di Bronzo, Tarkus from ELP. I think it is one of the best CDs of this year and you all must listen to this CD and the real ELP fans will buy it. I hope that Keith Emerson will listen to his tracks and maybe he will get new inspiration. Label= AVALON.
From: "Carlos Lima"
The album KEYBOARD TRIANGLE "Same" was scheduled to be released by Musea on last October, under the number "FGBG 4307.AR". I don't know if it was! However, if you'll like to save some money on it, I think you should wait for the Musea's release :-)
From: Jeff Marx
Just in case any of you haven't ordered this lovely keyboard trio tribute album from Arsnova and Gerard, but would like to check out some of the music, I've put up three RealAudio samples on my website. Here's the direct URL; http://www.geocities.com/SunsetStrip/Frontrow/7806/plp.html
From: "upnsm0ke" Subject: Arsnova, _Android Domina_
This FINALLY arrived in the mail, today....I'm barely on Track 2, and I'm completely bowled over. The playing is stunning, the sound palette is so rich....this may just be their best effort, yet, but I still have to get through the rest of the disc. [And when the CD came out of the mailer, and I saw the cover....WOW!!!!] =)
From: "upnsm0ke"
> are they still a keys-drums-bass trio? I heard some months ago they are > now a double keys-drums trio.
You heard right: Mika, who plays keyboards & violin (with Akiko, their drummer, that makes two who can play violin in this band!), first appeared as an Arsnova member on _Keyboards Triangle_ (_Book of the Dead_ is the only release which marks Arsnova as a duo - bassist Ken Ishita is credited as a guest). Mika also lends her lovely voice to their cover of "Tarkus" on KT and in several places on the new one. Kyoko Kanazawa, their bassist, must have left during the sessions for _Keyboards Triangle_, since she plays on the cover of Il Balleto di Bronzo's "Epilogo". (I don't know what circumstances surrounded her exit). Since then, Ken Ishita (formerly of Deja Vu, a band which featured keyboard great Motoi Sakuraba) lends a hand on bass here & there; he played on _Book of the Dead_, and the _Keyboards Triangle_ release & on one track on the new album, and so does Triton (Mika's pre-Arsnova band) bassist Noboru Nakajima. Everything else is synthbass. So, yeah, I really dig the new double-keyboard one-two punch in Arsnova. =)
> Is this the japanese release or Musea? As you might know, they had their > Goddess...& Book.... on both releases with different tracklist.
Right-ee-o. This is the Made In Japan release. Musea release should be coming up, I presume. E-Man P.S. If any of you wanna label me an Arsnova fanboy.....fire away!!!! Yew kin all lis'en to your Beard CDs, fer all I care! Haha...
From: Jeff Marx
> I'm not the one you're gonna be callin' a tease when you open the mailer, > pull out the CD, and take your first gander at the cover. ;-) >
Wow!! E-Man ain't kidding around this time! Sign me up for the Arsnova fanclub...maybe they have poster-size prints? :) And the music....hell, let ELP stay retired.
From: "Errol Allahverdi" Subject: RE: Arsnova, _Android Domina_
I haven't heard this CD yet, but I have all the others. My favorite is Goddess of Darkness (I believe that's the name). Their first, Fear & Anxiety, is good but immature. They had not yet formed their own sound and drew much more from ELP. Transi is an excellent choice. Their own unique sound first emerged on this one. 'Goddess' has the most sense of melody with great orchestrations. The bass and drums are very active and a great complement to the arrangements (the drums could have been louder in the mix) on Transi and Goddess. I don't think the music would have worked as well without their energy and sound. The fourth album, Book of the Dead, starts to get a little too intense for the average listener, myself included. I'll bet they kept going in that direction with this new one. That's why I hesitate on picking it up. Is there anywhere I can hear some samples? I think they need a little more positivity (cheeriness) in their music to be more palatable to me. Just my two cents.
From: "Jeff Marx"
Arsnova--"Android Domina" I worship this band, everything they do is joyous to me so no surprise here, that I think it is right up there at the top of their discography. Totally mature compositionally, played with utter fury...dual keyboardists just keep the wall-of-sound both lush and sonically-violent at the same time it seems! My favorite album of 2001 so far.
From: "Andrew J. Rуzsa" Subject: RE: Arsnova's "Lacrimaria"
I have just finished listening to "Lacrimaria." Whilst previous albums of Arsnova are overwhelming with their in-your-face dramatic, occasionally dark, themes and execution, "Lacrimaria" is breathtakingly dynamic. In places, it's delicate, almost fragile, elsewhere it's rich, somber, and powerful. The versatility of these ladies is stunning and their musicianship is impeccable. Although the tracks are mostly reworks from previous albums, the main connecting theme is religious, as one would expect looking at the gorgeous bas-relief of the Crucifixion on the outside box.
I don't know whether I was so touched by this album because I listened to it after a 14-hr workday, or I was just in a receptive mood for it, but I feel it's one of the most accomplished and beautiful ProgRock albums I ever have ever heard. Wakemanesque in places, it is still original in both thematic development and execution. If you want to hear beautiful tunes, keyboards that verge on perfection and don't mind the occasional purposeful classical disharmony, you can't miss this album. Only 300 copies have been made, so call up Greg and beg for this treasure. Tonight I will be going to sleep with a smile on my face. You will, too, but you will have to set aside a 40-minute chunk of your life, with no interruptions. Walk into the Arsnova church!
Arsnova "Lacrimaria" (2001) Made in Japan Records Limited Edition 300 copies/Collectors CD - MJC-1023
Track Duration Title 1 (01:33) Lacrimaria 2 (10:14) Resurgence of Fata Morgana 3 (04:40) Isis 4 (07:56) Mother 5 (05:23) Ainsel 6 (10:11) Pairi-Daeza
From: "Jeff Marx" Subject: Re: Arsnova's "Lacrimaria"
From: Andrew J. Rуzsa Although the tracks are mostly reworks from previous albums, the main connecting theme is religious, as one would expect looking at the gorgeous bas-relief of the Crucifixion on the outside box.>>
The contrasts between the visual imagery on Lacrimaria and Android Domina are pretty startling as well, as this album has the stained glass/cathedral iconography working big, versus the racy bits on AD. The girls sure do like to dress up in any case :). Great stuff...methinks they'll be playing all these tracks in Mexico City...maybe the USA as well at some point? Sigh...I'll go on pipe-dreaming regarding the USA thang.
From: Otso Pakarinen Subject: re: Ars Nova in America
About Ars Nova... I just saw two Ars Nova gigs last week and have somewhat mixed feelings about them. For starters, they don't seem to feel very comfortable on stage. Very nervous. They seem to play at the limit of their chops all the time, leaving no headspace for stage presence. As their material is quite busy and neurotic with few calmer moments, it all leads to a distressing feeling. The sex costumes don't help either. It's as if somebody forced them to put them on.
It wasn't bad but...on the latter gig the second group was the British Yes tribute band Fragile who gave a helluva performance with (obviously) great songs and damn good playing. It was fun! Something I couldn't say about the Ars Nova performance.
Just my observation/opinion...
From: "upnsm0ke" Subject: Re: Ars Nova in America
> From: "Otso Pakarinen" > > The sex costumes don't help either. It's as if > somebody forced them to put them on.
That's part of the act. *grin*
From: "all4rains"
Date: Tue Jun 25, 2002 3:09 pm
Subject: Re: [e-Prog] ArsNova News...
Jeff Marx wrote:
<>
If I'm reading it correctly, the album will be out in October, followed by some shows in 2003. More good news too, as it looks like the girls will be making the trip over to this side of the big pond (& Europe as well)! Should we start the rumor that they're the NEARfest '03 "mystery band"? ; )
From: "umocheech"
Date: Mon Jun 24, 2002 11:22 pm
Subject: Re: [e-Prog] ArsNova News...
> Looks like lots going on with ArsNova! According to their site, they're now taking orders on a 5 disc, CD/DVD boxed set (beaucoup bucks!), & looks like their newie, "Biogenesis", will be out later this year, probably >late October. Got your order in yet, Jeff? ; )
I pulled my res on a box set. $220 is a bit much for what the set contains. I thought the DVD would be a full-blown concert, but it has some promos. The live disc is a single disc, and there's a "Best Of" CD and, I believe, a VHS tape. Oh, yeah, it comes in a coffin-shaped box, apparently. Like The Misfits. ;-)
From: Andrew Rozsa
Date: Fri Jul 5, 2002 11:15 pm
Subject: Re: [e-Prog] Ars Nova.... from their site
Label: Transi; Project No.: TRA-Box1; Price: US $220 (S&H Included); Order: Pre-Order ONLY!; Order by: July 5, 2002; Payment Method: International Postal Money Order; Send to: Shingo Ueno 3-15-10, Kitamachi, Nerima-ku, Tokyo 179-0081 JAPAN
BOX contents: 3 CDs, 1 DVD, 1 CD-R; DVD "Museo Bizzarro" 2 promotion songs + 2 live songs; CD "Across the World" Live CD from world tour 2001; "Official Bootleg Live 1997" Live CD at Silver Elephant in Tokyo; "The Nightmares" Best songs CD (different versuin from Six Sungular Impressions); CD-R "ARS NOVA CD-R photograph book" The best 35 photos, featuring SM atmosphere ==========================================
2003 USA and Europa Tour: After New CD "Biogenesis" released, planning to tour with a guest member. =====================================
