THE DEVOURING

Djam Karet was founded in 1984 by guitarists Gayle Ellett and Mike Henderson, bassist Henry J. Osborne, and drummer Chuck Oken, Jr., all of whom remain in the band. They chose as the band's name an Indonesian word (pronounced 'jam care-RAY) that translates loosely as elastic time. [Djam Karet's official website]. Well, yeah, Indonesian who knows the name has never believed that the name of the band was taken from bad habit on not coming on time for an appointment. Indonesian used to translate it to English as "rubber time".

Anyway, let's talk about the music .

Those of you who like the jazz-rock fusion kind of music, you would find "The Devouring" by Djam Karet is an excellent album. The music combines heavy elements of progressive music using double guitars, dynamic bass guitar and energetic drumming. At first glance you might feel that this is a guitar-driven album. But if you look it deeper, you could find the tight and dynamic basslines played by Henry J. Osborne. There are songs composed with heavy elements and some of them in mellow style. The heavy side of the music reminds me to bands like Brand X, Dixie Dregs, Al Di Meola and Ozric Tentacles (without ambient psychedelic parts). The mellow style reminds me to Allan Holdsworth's stuffs using synthaxe.

One of the first impression I got the first time listening to this album was the opening track "Night Of The Mexican Goat Sucker" (7:04) which demonstrates Djam Karet's musical dynamics using blistering double guitar backed solidly by tight basslines. The first part of the song indicates great basslines as main rhythm section augmented by guitar riffs. It's really a cool opening track. Chuck Oken's drum work is also excellent. There are passages with syncopated style. The keyboard intersects nicely in between music passages, it's a resemblance of ELP basically. "Forbidden By Rule" (5:55) continues the same spirit like the opening track with its Crimsonesque mellotron sound at the opening part.

"Lost, But Not Forgotten" (7:45) brings to relax mood with great opening of organ solo followed with mellow style, using keyboard main melody line, switched to guitar on later passages. "Lights Over Roswell" (6:44) brings the music in mellow style demonstrating excellent bass solo. The music moves up into upbeat music with bass guitar as main rhythm section. "Myth Of A White Jesus" (4:19) is a mellow track with excellent keyboard exploration and sound effects that are intertwined by guitars. It reminds me to the music of Allan Holdsworth using his synthaxe. But it also reminds me to King Crimson's "Three of a Perfect Pair" album in its style of music. The first half of "The River Of No Return" (8:47) continues the previous track style: exploration of keyboard. But in the middle of the track it moves up with stunning guitar solo.

You might consider "Room 40" (8:36) is a Floydian style as the song moves beautifully in relatively slow tempo with Gilmourian guitar work. "The Indian Problem" (5:30) is an ambient acoustic guitar improvisations followed by bass guitar solo work. The music is like Ozric Tentacles. "The Pinzler Method" (4:48) explores guitar solo in long sustain fashion followed by those played tightly as the music moves along. It's really a great guitar exploration song! I love it. "Old Soldiers' Disease" (11:04) concludes the album with good combination of keyboard and mellotron sounds followed by stunning guitar solo.

Overall, this is truly an excellent album especially in music compositions and most importantly on guitar and keyboard improvisations. Highly recommended! 4.5 stars. Keep on proggin' ..!

Peace on earth and mercy mild - GW