Burning the Hard City (1991)
Continuing on my recent theme of listening to albums that I haven't heard in decades, up comes one of the oldest CDs in my collection. According to all of my paper trails, and they are significant in scope, the last time I heard Burning the Hard City is when I bought it - upon release in 1991. However I know that isn't true. I recall listening to it many times during the 90s. Even back then questioning if it was something I needed to keep.
As noted below on the Suspension & Displacement review, I preferred this title to that one, but now I'm not so sure. After devouring (had to do it) the contents one singular evening, I would say that I now appreciate both at the same level. It was obvious back then what Djam Karet were up to, and it still is. They had two distinct sides of their sound, so why not distill each in concentrate form? This is a trait we often see in Japan, where they wring each idea to death so there is nothing left to the imagination. Fortunately for us listeners, Djam Karet happens to be very adept at both electronic and space rock. As well as prog and jazz fusion. They are a versatile bunch. At the time of release, and in retrospect, I do think they would have been better served to mix and match for a cohesive sole album. Similar to Reflections From The Firepool. The philosophy of more is better was prevalent in the abundance days of the 90s. Formerly restricted by the length of the vinyl LP, bands now had more freedom to put out anything they felt like. Especially since CD production costs had become a commodity in a very short time.
As it turns out, I was very familiar with the contents of this album despite a 25+ year absence in the changer. No notable highlights, but safe to say, if you enjoy the jamming heavy psychedelic nature of Djam Karet, then Burning the Hard City should resonate well. At this point, I'm sure I'll hold onto both of them for the long haul.
Ownership: 1991 HC (CD)
1991 (acquired); 7/7/25 (review)
Regenerator 3017 (2014)
Regenerator 3017 is a good example of an album I had zero recollection of. I had it categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case (unless I find them in the wilds, or someone is giving them away). I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.Ownership: 2014 HC (CD). Digipak.11/25/14 (acquired); 12/23/23 (new entry)
The Ritual Continues (1987)
For context first read my review about Reflections from the Firepool. After purchasing that CD, I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirit of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.Ownership: 1993 HC (CD). Two bonus tracks from Happy Cancer and one extended rerecording that was new to this issue. The original cassette does feature some unique material not on the CD.1989 (first acquired); 1996 (CD acquired); 12/1/14; 9/7/23 (review)
Suspension & Displacement (1991)
Regenerator 3017 is a good example of an album I had zero recollection of. I had it categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case (unless I find them in the wilds, or someone is giving them away). I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.Ownership: 2014 HC (CD). Digipak.11/25/14 (acquired); 12/23/23 (new entry)
For context first read my review about Reflections from the Firepool. After purchasing that CD, I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirit of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.Ownership: 1993 HC (CD). Two bonus tracks from Happy Cancer and one extended rerecording that was new to this issue. The original cassette does feature some unique material not on the CD.1989 (first acquired); 1996 (CD acquired); 12/1/14; 9/7/23 (review)
Suspension & Displacement (1991)
Bought this when it came out, famously with its cousin CD Burning the Hard City. For most of that time since, I held the other CD as the better of the two. Now I'm not so sure. My mental image of Suspension & Displacement was that of a boring electronic / space rock album. But I had dismissed the full band effort here, and there are many organic moments, including much needed warmth instruments like acoustic guitar. A definite +2, and I have a whole new outlook on this, some 31 years after the fact.
Ownership: 1991 HC (CD)
1991 (acquired); 3/10/18; 4/6/22 (review)
The Devouring (1997)
When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening three cuts are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will.
Ownership: 1997 Cuneiform (CD)
Reflections from the Firepool is where Djam Karet went pro. Prior to this, their releases had been more jam oriented, with far less focus on composition and melody. It's also the album where I was first introduced to this fine long running band from California. I picked up the CD from a mail order dealer not long after release, and was subsequently blown away.
To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.
'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).
All in all, Reflections From the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.
Fernwood are the California based duo of Todd Montgomery and Gayle Ellett, the latter most known to progressive fans as a member of Djam Karet. They each play a tremendous amount of (primarily stringed) instruments, including but not limited to, Greek and Irish bouzouki, sitar, banjo, dobro, mandolin, tenor ukelele, violin, and... Moog, Mellotron, organ, Rhodes, and electric guitar. Despite the presence of these latter instruments, the music is always calm and peaceful. In fact, I would like to use a term that Fernwood best represents. Unfortunately it has become somewhat of a pejorative, but shouldn't be regarded as such. And that term would be New Age.
35 years ago, the New Age movement had just begun and offered up a promising style of music that promoted music from around the world, generally in a tranquil, cosmic, and meditative manner. But it didn't take long for labels such as Windham Hill and Narada to turn the style into an almost Adult Contemporary pop music, perfect for bored rich housewives sipping sangria before their next yoga class.
Fernwood returns us to the original spirit of the genre, recalling pioneers such as Popol Vuh, but taking it to the next level. There are 11 tracks here, each as spellbinding as the next. Typically, I'm not fond of music such as this as I generally hear it, quite frankly, as dull. And yet I found myself transfixed and swept away by the blend of sounds created here. The production is stunning, and provides the crystal clear sound music like this needs to breathe.
Ownership: 2015 private (CD)
When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening three cuts are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will.
1997 (acquired); 2004; 12/27/19; 6/11/20 (review)
Reflections from the Firepool (1989)
To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.
'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).
All in all, Reflections From the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.
The LP leaves off two very good to excellent lengthy tracks to fit the format: 'Scenes From the Electric Circus' and 'The Red Monk'.
Ownership: 1989 HC (CD)
1989 (acquired); 7/30/18 (review)
Djam Karet's debut album, the cassette No Commercial Potential, was a true anomaly when released in 1985. The concept of long form, psychedelic guitar driven rock instrumentals, was an extinct concept in the mid 1980s. Whereas LS Bearforce released the homage to early Guru Guru in 1983, Djam Karet had taken the idea of combining mid period King Crimson mixed with any number of west coast late 60s psychedelia bands. And yes, with more than a hint of Krautrock as well. Djam Karet were born out of a (still operating) California record store, and it's no accident they possessed the historical capacity for musical research. Quite simply, they were considerably ahead of their time, and by the 90s many were following their lead, arguably to lesser success. It must be said, the title is as accurate as any in history.
Ownership: 2004 HC (2xCD) With ...And Still Getting the Ladies.
Ownership: 1989 HC (CD)
1989 (acquired); 7/30/18 (review)
No Commercial Potential (1985)
Ownership: 2004 HC (2xCD) With ...And Still Getting the Ladies.
1/5/08 (acquired); 8/12/17 (review)
Fernwood - Arcadia (2015)
35 years ago, the New Age movement had just begun and offered up a promising style of music that promoted music from around the world, generally in a tranquil, cosmic, and meditative manner. But it didn't take long for labels such as Windham Hill and Narada to turn the style into an almost Adult Contemporary pop music, perfect for bored rich housewives sipping sangria before their next yoga class.
Fernwood returns us to the original spirit of the genre, recalling pioneers such as Popol Vuh, but taking it to the next level. There are 11 tracks here, each as spellbinding as the next. Typically, I'm not fond of music such as this as I generally hear it, quite frankly, as dull. And yet I found myself transfixed and swept away by the blend of sounds created here. The production is stunning, and provides the crystal clear sound music like this needs to breathe.
Ownership: 2015 private (CD)
5/12/15 (review)
Other Djam Karet albums I own and need to review: Still No Commercial Potential; ...And Still Getting The Ladies; New Dark Age; A Night for Baku; Recollection Harvest; The Trip
5/12/15 (new entry)
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