Also see: NEARfest 2001 ~ Gayle Ellett ~ ProgDay 2002
From: "Michael Ostrich" <>
Subject: Djam Karet Mailing List Letter #5.
Hello all! We hope you're getting ready for NEARfest!!!
With the release of New Dark Age (our 11th album) by Cuneiform Records in May
of 2001, and a yet-to-be-titled EP-CD scheduled for release in September
2001, Djam Karet has announced a series of rare live performances lined up
for 2001. Here are the tour dates:
June 19/20: Small Club TBA - Claremont, CA
June 24: NEARfest 2001 - Bethlehem, PA (with Porcupine Tree, Banco, After
Crying & more!)
June 26: Cuneiform Night/Venue TBA - New York City, NY
Early July: Venue TBA - Los Angeles, CA
On tour promoting New Dark Age, Djam Karet will be joined live by power
bassist Aaron Kenyon, formerly of Atavism Of Twilight and now of Controlling
Hand. Aaron will be filling the live shoes for Henry Osborne whose family
commitments keep him from performing live with DK this year. This 30-year-old
"Monster Bassist" from the local Claremont California Progressive scene,
which gave birth to Djam Karet, can be heard on the Syn-Phonic label's CD
release of Atavism of Twilight's self-titled debut album. Often compared with
Jimi Hendrix (only louder!), Aaron will be performing the 4 & 5 string bass
as well as the fretless bass live with Djam Karet on tour this year. All of
Djam Karet welcomes his energy and looks forward to an unparalleled series of
live gigs early this summer 2001.
Stay tuned to our website for more details, and while you're there feel free
to listen to over 2 hours of streaming Real Audio! -
m.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
http://www.djamkaret.com/ : The Official Djam Karet Website
Send email to
to receive the latest Djam Karet news, tour dates and information.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Email: webmaster@djamkaret.com
From: "E-Man" <>
DJAM KARET: live at Rhino Records, Claremont, Sept. 19, 1998.
Gayle Ellett: Guitar, E-Bow, Keyboards; Mike Henderson, Guitars, E-Bow; Chuck
Oken, Jr.: Drums, Percussion, Synthesizer Sequencing; Henry J. Osborne:
5-String Bass + Bottled Bass. Djam Karet were formed over 15 years ago by
four musicians with the desire to create free-flowing, improvisational music
not limited by the familiar verse-chorus-verse structure...I was finally able
to experience this Southern California avant-progressive quartet's first show
since 1993, and I only had to travel sixty minutes to catch it! They
took the stage at roughly a quarter-to-eight, and played about ninety minutes
of music distributed between two entirely different sets.
SET ONE<> DK commenced by playing the fabulous opening number from THE
DEVOURING called "Night of the Mexican Goat-Sucker." The near-telepathic
chemistry displayed by these four musicians was dead-on, and I must assert
they are masters of their chosen instruments. Chuck Oken, Jr. brutally pounds
his crash, splash, and inverted-crash cymbals into submission, to the point
where I seriously expected the cymbal stands to fall backward rather than
stand firm. Henry J. Osborne's rapid left-hand fretting was truly a joy to
watch, while Mike Henderson rarely looked at his hands(!), fretting every
chord with ease as he gazed at some sight the rest of us could not see. Gayle
Ellett's lines are equally savory and very tasteful, and more unique tones
were coaxed by both guitarists via E-Bow. The band looked like they were
having a really good time, and those of us in attendance roared with
approval.
Chuck Oken, Jr. then emerged from behind his drumkit to trigger and mix the
tribal-rhythm sequence on the Ensoniq Mirage for the second number, "Fall of
the Monkeywalk" (from REFLECTIONS FROM THE FIREPOOL), which he greatly
amended once he was behind his drums again. With a track like this, DK
demonstrate the immense importance of the rhythm section; Henry's basslines
are simultaneously rhythmic & melodic, and when coupled with Chuck's fluid
yet edgy syncopated beats, the perfect foundation was laid for Mike & Gayle's
eerie, droning, delay-effected guitar lines.
Long stretches of thunderous guitar feedback began the third piece, leading
directly into one of my favorite Djam jams, "{Visage 19} The Province of
War," from BURNING THE HARD CITY. DK show what they're made of on a tune like
this----silly mainstream bands like Green Day and Creed could learn a thing
or two about crunch from Mike Henderson's ominous, distortion-drenched, manic
chordings. Plus, there was much power on hand thanks to barrages of tom
rolls, courtesy of Chuck. Within just the first three tracks, DK supplies
much evidence at how they coax their own style by melding elements of jazz,
metal, ambient & world music. Only Djam Karet sound like Djam Karet, and no
other.
A short pause allowed the band to relax from flexing their musical muscle and
for Henry to take the mike and disclose track titles for those less familiar
with their music. The music resumed with more juicy feedback, seguing into
"The Sky Opens Twice," also from REFLECTIONS...I must admit I was pleased
with how Chuck would turn away from the toms and cymbals, and concentrate for
a spell on playing notes and fills on just the snare, kick and
open/half/closed hi-hat, proving that sometimes less is more and putting many
drummers who employ grandiose kits to shame. We were rewarded next with an
older gem, "Technology and Industry" from THE RITUAL CONTINUES, a track
introduced, driven by, and ended with bass+drums, plus tasteful baroque and
quasi-Floydian yet aggressive guitar lines, alternating between Mike and
Gayle, one supplying distortion-aplenty as the other picked a snarling lead.
A winner!
My being unsure of what they would play next, with a repertoire like theirs,
the guys may just as well have read my mind to take a "telepathic" request:
they delivered the title track of BURNING THE HARD CITY! The introductory
keyboard sirens preluded the thumping groove that perfectly evokes the title
and gave us the chance to witness a true ensemble workout, Djam-style, all
the way to the cliffhanger ending! The fans were pretty much floored by the
end of this one...
Set One concluded with the up-beat "Run Cerberus Run" (track 3 from RftF). A
good choice after "Burning," as this is replete with lively organ playing and
synth timbres courtesy of Gayle, and some upper-octave measures from Henry.
Afterward, the band announced a fifteen-minute break. The DK guys are very
down-to-earth and equal parts social and professional, and were quite
appreciative of everyone who showed. I did actually overhear one man say,
"I'm afraid to try and talk to [them]." I believe he eventually summoned the
courage...
SET TWO <> ...was kicked off with a DEVOURING (no pun intended) piece called
"Forbidden By Rule," with Henry stepping out front between Mike and
Gayle from his original position by the drumkit, followed by Chuck triggering
the first of two sequences on the Mirage that is the basis for "Scenes From
The Electric Circus" (from RftF). Though simply a repeating loop, the
sequence [notes] seemed slightly detuned, and would submerge and resurface
amidst the backdrop of nightmarish, soundtrack-like instrumentation. A second
sequence, in 6:8, replaced the first and relied on steel-pipe samples, over
which up/down bass-string strokes traded off with menacing, wailing guitar
notes. Bass and drums intro'd track 7 from RftF, "Red Monk," a true RIO-style
piece.
Henry took the opportunity to announce that the band had a new CD release, of
which yours truly was completely unaware: STILL NO COMMERCIAL POTENTIAL: 70
minutes of digitally-recorded free-form improvisation, limited to 750 copies,
and signed (at least the copies that were there last night) by the band. I'm
listening to it as I transcribe these words, and DK fans are going to be very
happy campers!
DK continued with the title cut from REFLECTIONS FROM THE FIREPOOL, a great
slab of what I'll just dub "Symphonic World" music (to quote Dennis Miller,
somebody stop me before I subreference again!), with those propelling tribal
rhythms and sustained, "talking" guitar notes. Then we were in for another
rear-kicking: the BURNING (assuredly, no pun intended!) "At the Mountains of
Madness," a loud, dense wall of aggressive playing interspersed with a 1/2 or
whole measure here and there of pure drums, momentary eyes before the canopy
of Mike & Gayle's dual assault and the resonant bottom end of Henry's bass
overtook the fragile minds assembled, and the song's finale was met with
yelps, hoots, shouts and clapping.
The next number would turn out to be the last, and once again, we journeyed
back to THE RITUAL CONTINUES with an organ line by Gayle and an
upward-modulated D-50 vocal patch that preceded Chuck's frenetic drumming:
yes, it was "Shamen's Descent." A good closer, wherein a double-mood is
achieved that is very difficult to catch----one that is melancholy, yet
somehow uplifting. The track sheaths itself in a minor key, but I suspect a
blues scale is at the bottom of things. With Gayle on keyboards, Mike's
guitar was given free territory to roam, the juggernaut that it is. Yes, the
blues were apparent in his tasteful, Gilmour-esque playing. Gayle followed
suit with a sawtooth (synth) solo. An incredibly appropriate end for
tonight's show...
.....but not quite over. Ever hospitable are the Djammers: the front doors
were locked, and food and refreshment were set out before the stage, and it
was everyone's chance (including some latecomers) to chill out with a light
party atmosphere, and for some one-on-one conversation with Henry, Mike,
Chuck and Gayle. Those who opted to leave early, missed out, IMHO.
Djam Karet will perform again, next month on Friday the 16th, at Mr. T's
Bowl, 5621 1/2 North Figueroa, Highland Park [Phone: 213-256-7561]. Opening
acts include a Gamelan music group and perhaps Los Angeles proggers, Under
the Sun or Orange County outfit, Atlantis. Tix: $10. Tix can be ordered from
Greg Walker/Syn-Phonic, P.O. Box 2034, La Habra, CA 90632 [Phone:
562-947-1576]. Also order tix from Henry Osborne at P.O. Box 1421, Topanga,
CA 90290 [Phone: 626-441-0434].
http://www.djamkaret.com. Thanks to Henry J. Osborne for being so
accommodating...
From: "Craig Shipley" <>
> I have (The Devouring) and simply love it.I don't know if it's the
haunting sound from the (D. Gilmore like) guitar or what but this really
moves me.Does anyone own it too?What are your thoughts?
You must try REFLECTIONS FROM THE FIREPOOL if you like that Dave Gilmour
sound (especially on the opening track "The Sky Opens Twice"). There is also
a "One Of These Days" from MEDDLE soundalike whose name escapes me at the
moment... About the only DK that I don't rave about is COLLABORATOR; while
the wealth of guest talent is wide, the CD just didn't hang together like
their other efforts. I think they just re-issued the Ying-yang "set" BURNING
THE HARD CITY / SUSPENSION & DISPLACEMENT (BtHC being the balls-to-the-wall
monster-guitar half and S&D being the electronic atmospheric drone half);
highly recommended! As far as my take on THE DEVOURING, it is a classic that
spends much time in the players, although now it is fighting for time with
LIVE AT ORION and STILL NO COMMERCIAL POTENTIAL. DK does well in a live
environment, check 'em out (and on L@O, you finally get to see what these
guys look like! They really don't have guitars and cymbals for heads!! :-) ).
Guess I'll be spinning some DK on the way to work this AM...
From: Chris Richards <>
VERY HAPPENING GROUP!!! I first heard about them when I saw a review of
Reflections From The Firepool in Relix (yeah, the Grateful Dead magazine)
back around 89 or so. I just happened to find a used copy at a local record
store and bought it. Skip ahead to 92, when I was in the Navy in San Diego,
and found Burning The Hard City and Suspension & Displacement at Tower
Records. The only other of their albums I've gotten in is The Ritual
Continues. Unfortunately, when they played in Baltimore back in 98, I screwed
up and missed the show (would you believe I missed my Greyhound bus?). I was
SO pissed abuot that, and still am. It bugs me that a good band like that
only gets to play one east coast show in their, what has it been, 20 years?
Basically, one east coast show in their entire existence!!! There's something
screwy when a band like that can't do a proper tour once every couple years,
while the likes of the Backstreet Boys are all the rage!!! This country
totally sucks when it comes to music!!!!!!!!!
From: "Mark Fonda" <>
Cross-post from :
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PROG-REVIEWS NR 116 - 2000 (Djam Karet re-releases Special)
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REVIEWS: DJAM KARET - Reflections from the Firepool
DJAM KARET - Burning the Hard City
DJAM KARET - Suspension & Displacement
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Reviews
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DJAM KARET - Reflections from the Firepool
USA Rating * * * ? 1989 / 2000 CUNEIFORM RUNE 139 Time: 65:40
Djam Karet: Gayle Ellett - Electric, Classical and Steel Guitar, Keyboards,
Taped Effects, Mic Stand, Percussion Mike Henderson - Electric and Acoustic
Six and Twelve String Guitars, Effects, Percussion Chuck Oken, Jr. - Drums,
Synthesizer Programming And Sequencing, Electronic Percussion Henry Osborne -
Electric Bass, Bottled Bass, Keyboards, Chain, Percussion
Guest musicians: Max Mahoney: Sax on "All Doors Look Alike" Rychard Cooper:
Dumbek on "Fall of The Monkeywalk"
Track listing: 1. The Sky Opens Twice (10.16) 2. Fall Of The Monkeywalk
(9.16) 3. Run Cerberus Run (6.42) 4. Scenes From The Electric Circus (7.04)
5. Animal Origin (7.15) 6. All Doors Look Alike (7.15) 7. The Red Monk (7.22)
8. Reflections From The Firepool (10.02)
This is the best of the albums that Djam Karet released before "The
Devouring" (1997). "Reflections from the Firepool" were their debut CD, and
before it they had released a cassette called "The Ritual Continues" on their
own label.
This re-release of the debut CD that was originally released in 1989, is
almost as good as the main part of their later releases. The mix between
instrumental ambient, avant-garde, jazz, new age and 70's progressive rock
has given them a quite unique sound. Here and there you can hear some traces
of early King Crimson, Greatful Dead, Pink Floyd and Yes. They were already
at this early stage very good musicians.
This is where Djam Karet started to refine the music that we can hear them
play today. Especially interesting for you who are familiar with Djam Karet's
later releases. -Reviewed by Greger
R?nqvist-
Contact: Djam Karet PO Box 1421 Topanga,
CA 90290 USA Email: info@djamkaret.com Website:
http://www.djamkaret.com/
Cuneiform Records P.O. Box 8427 Silver spring. Maryland 20907-8427 USA Email:
Cuneiform2@aol.com Website: http://cuneiformrecords.com/
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DJAM KARET - Burning the Hard City
USA Rating: * * * 1991 (re-release 2000) CUNEIFORM RUNE 128 Time: 70:01
Djam Karet: Gayle Ellett: Electric 7-string & 6-string guitars, taped
effects, keyboards & percussion Mike Henderson: Electric 12-string & 6-string
guitars, effects & keyboards Chuck Oken, Jr.: Drums & electric percussion,
keyboards, synthesizer programming & sequencing Henry J. Osborne: Electric
5-string bass, bottled bass, keyboards & percussion
Track 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 (12:07)
Two of Djam Karet's early works have been re-released and available again on
the magnificent Cuneiform label. "Burning the Hard City" and "Suspension &
Displacement" were originally released simultaneously in 1991. This release
is a little bit harder and heavier than their later recordings. Djam Karet's
music is all-instrumental, and it's a mix of Genesis, Happy The Man, King
Crimson and Pink Floyd. The mixing and production isn't very good on this CD
but you have to consider that this is an early Djam Karet release.
Djam Karet has released far better albums later in their career, both as
composers and musicians. This album has a flat sound and it lacks a lot of
dynamic. The music also tends to get to repetitive and boring. "Province 19:
The Visage Of War" is however a good track. I usually like Djam Karet's music
a lot, but this album never grows on me. Buy their masterpiece "The
Devouring" instead.
-Reviewed by Greger R?nqvist-
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DJAM KARET - Suspension & Displacement
USA Rating: * * ? 1991 (re-release 2000) CUNEIFORM RUNE 129 Time: 70:29
Djam Karet: Gayle Ellett: Electric 7-string & 6-string guitars, guitar synth,
taped effects, keyboards & percussion Mike Henderson: Electric & acoustic
12-string & 6-string guitars, effects, keyboards & percussion Chuck Oken,
Jr.: Electric & acoustic percussion, keyboards, synthesizer programming &
sequencing Henry J. Osborne: Electric 5-string bass, keyboards, effects &
percussion
Track listing: 1. Dark Clouds, No Rain (10.52) 2. 8:15 - No Safe Place (4:42)
3. Angels Without Wings (4:59) 4. Consider Figure Three (7:47) 5. Erosion
(12:56) 6. Severed Moon (6:27) 7. The Naked & The Dead (5:20) 8. Gordon's
Basement (3:26) 9. A City With Two Tales: Part One Revisited 1990 (13:24)
Today's Djam Karet is an exciting and innovative band who I find a great
pleasure to listen to. But this re-release of their dark 1991 new age/ambient
album "Suspension & Displacement" is just boring with never-ending
soundscapes, improvisations, sampled effects and repetitive loops that just
ain't going nowhere. This album is a mix between Aphex Twin, Biosphere and
Tony Gerber.
This album were released simultaneously with "Burning the Hard City", an
album that is totally different to this, with its heavy guitar oriented
instrumental progressive rock. "Some tracks though are quite good: the
opening "Dark Clouds, No Rain", "Angels Without Wings" and "Consider Figure
Three".
If you're not a die-hard new age fan you shouldn't even consider buying this
album. I rather suggest that you get hold of one of their more previous
releases, "The Devouring" for instance, that is far better than this. -Reviewed by Greger R?nqvist-
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From: "Jeff Marx" <>
Subject: Re: Djam Karet show in Claremont
From: <> E-man & Jeff, so how was it last night???
We sat having dinner 8 feet from the band while they were cranking out
serious decibels of cataclysmic dual-guitar jams, and wonderfully ferocious
drums/bass dialogs. I'm new to their music...but I know they played several
tracks from their newest-released album "New Dark Age." No Man's Land and Web
of Medea for sure...Mike Henderson had a double neck electric Guild; 6 and 12
string. Awesome spaced-out sounding chord progressions on the 12-stringer
while Gayle wailed away. The new bass-man, Aaron just hammered out long,
fluid bass riffs all night long. They did one track from their Newest new
album "Ascencion," which they sold for the first time last night. They did
The Hanging Tree from that, plus they did tracks from "The Devouring"
including a great 'Night of theMexican Goat Sucker' :) Other albums like
Burning the Hard City were covered as well....E-Man is an absolute Djam Karet
completist and authority, so he was having a total blast the whole time :)
For me, I was blasted into the next area code since the wall of amplification
was so in my face...thanks to a fellow e-progger I had decent ear
protection. :) At Nearfest, I hope their big sound really fills out the hall
to it's fullest. Plus Claremont has the coolest Rhino Records store I've ever
seen, two blocks from the venue. Great prog sections, new and used!
From: "upnsm0ke" <>
Subject: Re: Djam Karet show in Claremont
> From: <> > > E-man & Jeff, so how was it last night??? >
I couldn't make it due to financial reasons.
Sorry to hear that, dude, I realized you hadn't made it until after the gig.
That's not to say I wasn't expecting you, but at the rate I was downing $3
Corona's, waiting for the guys to play, and buying _Ascension_ and other
discs, I kinda forgot!
The Press is a GREAT place, I loved its darkwood walls and floors and its
overall ambience. The set was a little shorter than the last time at Rhino,
but we DID coax an unrehearsed encore out of them in the form of "Familiar
Winds"! How did we know it wasn't planned? Because Mike [Henderson] was
slightly vocal about it, just before he began refamiliarizing himself with
the chords on that beautiful double-neck he was playing. They pulled it off
beautifully, natch. To talk about tune highlights from the set would be
redundant, as every track was a "highlight," but the new material came off
great; they did do "Web Of Medea," one of my favorite tracks off of _The New
Dark Age_, and graced us with two cuts from _Burning The Hard City_,
including a seriously kickass version of "Ten Days To The Sand." Also got to
hear "Technology & Industry," which they performed at Orion three years back,
but we at Rhino didn't get to hear, so that was disgustingly cool.
And Chuck is one helluva drummer! He and performing bassist Aaron make a
fantastic rhythm section, and Aaron's animated stage presence enhances that.
As usual, we got to talk some with the guys after the gig, and among other
things, I wish I could've recorded Gayle's hilarious 45-second rant about
Mellotron maintenance and made an MP3 file of it! There are a couple of other
bits Chuck and Gayle shared, but it's better that I not disclose them in a
public place like here, and I'm sure they'll be future news items on the web
site.
If anyone is ever in Claremont, CA, be sure to check out [DK drummer] Chuck
Oken, Jr's music store, Rhino Records. Imports galore, mucho esoteric stuff,
a great atmosphere, tons of cool nostalgia adorns the walls, and a fantastic
new AND used prog section, which was seriously beefed up from the last time I
was there. I had every intent of restraining myself in there, but I blew no
less than a hundred bucks on music last night. One mega-zinger, from the used
section of all places: Kenso's 1985 live album, _Music For Unknown Five
Musicians_. It's long OP, and wasn't exactly cheap....but to whoever decided
to get rid of it, wherever you are: I thank you! ;-)