Djam Karat - Collaborator (1994)

"Collaborator" is just like the title implies a musical collaboration between DJAM KARET and some friends and guest musicians. The guest musicians sent Djam Karet some incomplete musical fragments on DAT, and DJAM KARET put them together and more sounds and textures to the material. The musicians who sent Djam Karet their music was Marc Anderson, Jeff Greinke, Walter Holland, Loren Nerell, Steve Roach, Kit Watkins (HAPPY THE MAN, CAMEL) and Carl Weingarten. The final result is atmospheric, ambient electronic music, which has the typical DJAM KARET sound. The album became "#10 Album Of 1994" in Deep Listenings magazine. This isn't a real DJAM KARET album but everyone who's familiar with the more ambient DJAM KARET will surely like this CD as well. Review from progarchives.com.

Great band great album from this sadly under appreciated group.

Listen

Songs / Tracks Listing

1. Solar Flare (3:16)
2. Gondwanaland (4:26)
3. The Anointing Of The Sick (6:53)
4. The Day After (12:31)
5. Foreign Lesion (4:10)
6. The 17th Karmapa (2:57)
7. Moorings (6:47)
8. Cliff Spirits (3:57)
9. Submersion (5:49)
10. Food Chain (8:14)
11. Salt Road (6:01)
12. The Fearful Voice (6:38)

Total Time: 72:33

Line-up / Musicians -

- Gayle Ellett / 7 string electric guitar etc
- Mike Henderson / 6 string electric guitar, keyboards etc
- Henry Osborne / 6-string electric bass, bottled bass, etc

Djam Karet - Burning The Hard City ( 1991 )

Burning the Hard City" is one of the hottest and fiercest musical works ever in the history of prog rock, and definitely, a cornerstone in the development of Djam Karet's sound, mostly, their rockier side. The sounds displayed in the repertoire's riffs, atmospheres, leads, rhythms and moods could literally burn any hard city around. Even though their recording history was still in its early stages, you can tell that these guys have come to know each other pretty well, since they seem to think with one mind while preserving each individual input's integrity. Well, the general sound displayed all throughout this album is so loud and ballsy that it may seem hard to notice for the first listens, but if you pay a closer attention, you will feel it clearly. This albums is mostly a catalogue of musical intelligence worked out from the more aggressive side of the band's artistic ideology. 'At the Mountains of Madness' is a top-notch opener, built on the solid management of the main motifs and its further expansions. Alongside the two guitars' solos and riffs, which seem to echo the distant cries of lost souls in limbo, the rhythm duo of Oken Jr. and Osborne reveals itself as an immaculately cohesive unit. 'Province 19: The Visage of War' goes to more animalistic places, closely related to prog-metal to a degree, but also related to vintage psychedelia and experimental jazz- rock. The reiteration of the main motif and the addition of guitar textures as controlled solos serves as an efficient tension provider, a tension that only makes the motif's inherent darkness turn a bit darker yet. The rhythm section is, once again, the main responsible of variations and extra colors among the sonic storm created by the two guitars. I have read in some e-zines that this track is a bit too repetitive, but I find it effective and one of the most powerful tracks in the album... and in their history, as well. As a counterpart, 'Feast of Ashes' offers an exercise in languid, reflective moods, albeit not exempted of tension: only this time it appears in a more subtle fashion, like a hybrid between mid-70s PF and standardized space-rock. 'Grooming the Psychosis' brings a moderately joyful cadence based on jazz-rock nuances, until the hard rock thing takes main control from minute 4 ½ onwards, making things get more complex. Anyway, Osborne's deliveries help to keep the jazz factor remain as a more subtle remnant until the end of the track, in this way dialoguing effectively with his partner guitarists and helping the track not to drown in its own energy. 'Topanga Safari' does to more ethnic places, something like a funky-driven Ozric Tentacles augmented by the presence of Jeff Beck and Tony Levin - an effective mixture, indeed. 'Ten Days to the Sand' somehow recapitulates the overall progressive vibration of 'At the Mountains.' and the introspective aura of 'Feast of Ashes'. The namesake track is the very proper closure. Providing a mysterious Floyidian vibe for the first 7 minutes, frrom then on, things get more robust, leaning closer to the rougher parts of the aforesaid 'At the Mountains.' and 'Grooming the Psychosis', perhaps with a bit of late 70's Rush. The climax is built-up cleverly and confidently. Djam Karet have managed to give us prog- heads a couple of modern masterpieces of the genre. In my opinion, this is one of them, so I give "Burning the Hard City" the PA's perfect mark - 5 stars. DJAM KARET Burning The Hard City music reviews and MP3 ( Review from progarchives.com)

Songs / Tracks Listing 1. At The Mountains Of Madness (9:17)
2. Province 19: The Visage Of War (8:13)
3. Feast Of Ashes (10:46)
4. Grooming The Psychosis (11:57)
5. Topanga Safari (5:57)
6. Ten Days To The Sand (11:07)
7. Burning The Hard City (12:00)

Line-up / Musicians

- Gayle Ellett / electric 7-string and 6-string guitars, taped effects, keyboards, percussion
- Mike Henderson / electric twelve and six string guitars, effects, keyboards
- Chuck Oken, Jr. / drums, electronic, percussion, keyboards, synthesizer programming and sequencing
- Henry Osborne / electric bass, bottled bass, keyboards, percussion

GET THIS ALBUM ON RDIO

Djam Karet - The Ritual Continues ( 1987 )

"The Ritual Continues" contains the oldest songs available by DJAM KARET. Seven of the tracks are from live shows performed in February 1987 and two of the tracks are recorded in January 1982 under the band name HAPPY CANCER. Besides some voices here and there, the album is all-instrumental. The album became "#4 Album Of 1988" in Electronic Musician magazine. Strangely enough I wouldn't call it an electronic album. There are Ambient influences and reminiscences to TANGERINE DREAM on it, but there's also the typical DJAM KARET progressive guitar rock blended with reminiscences to KiING CRIMSON and PINK FLOYD. The highlight is "Technology and Industry" where some of the KING CRIMSON similarities are shown. This is an interesting release all-in-all, although it isn't one of DJAM KARET's best albums (Review from progarchives.com)

"Good, but non-essential". That's what defines best Djam Karet's music. They're gifted, they sure can play and jam, but there is definitely nothing new emerging from their evergrowing catalogue. Their first one is their best. With addition of early Happy Cancer's old material, "The Ritual Continues" multiplies its perspective and shows the path that the band will endlessely explore from one album to another. ECM alike ambient kind of exposition ("Revisiting A Nice Place: Falling Down 1993") next to overtly King Crismon influenced tracks ("Technology And Industry"), Djam Karet sounds instantly Djam Karet when they mix both on such prime songs as "Shamen's Descent", "Familiar Winds", "The Black River" or the title track. Honestly, if you can get this one, you'll find quickly that all of their other releases are unecessary.  (Review from progarchives.com)

Top progressive rock band from the states who are particularly adept at crossing ambient styles with rock.

Songs / Tracks Listing

1. Shamen's Descent (7:17)
2. Tangerine Rabbit Jam (4:07)
3. Familiar Winds (6:29)
4. The Black River (6:42)
5. Technology And Industry (5:00)
6. The Ritual Continues (8:34)
7. Fractured (4:42)
8. Night Scenes (5:37)
9. Revisiting A Nice Place: Falling Down 1993 (16:56)

Total Time: 65:24

Line-up / Musicians

- Gayle Ellett / guitar, guitar synth, percussion(1,3-7,9)
- Andy Frankel / drums, vibes (2,8), African percussion (7)
- John Glass / electric guitar (2,8)
- Mike Henderson / six and twelve guitars, drums, percussion
- Henry J. Osborne / bass, percussion