“Djam Karet’s” customary blend of hard driving and inventively implemented progressive rock is diverted to the background on their latest effort, which is a limited edition of only 750 copies. Otherwise, for those who have followed the group’s sixteen-year rite of passage through a series of idiosyncratic offerings are also aware of the musicians’ ambient-electronic and world beat inclinations. With this release, the artists’ integrate themes fabricated upon Gayle Ellett and Mike Henderson’s somewhat organic acoustic/electric guitar lines, and mood altering patterns. On “The Hanging Tree,” the band pursues airy dreamscapes, in concert with a simply stated and thoroughly melodic lead synth line. However, this quartet is a true multitasking machine, as the rhythm section and lead soloists’ toggle between keys, percussion, and indigenous instruments amid their primary tools of the trade. The band takes the listener through a time warp on the final piece titled “Disintegration,” as they meld rumbling rhythms, flutes, and windswept digital effects with the guitarists’ acoustic guitar driven chord progressions. Essentially, the quartet provides us with yet another insightful perspective of its variegated approach to modern music, regardless of genre.
The best show I ever attended was the Zawinul Syndicate at the Blue Note in 1997. Being the youngest kids in the room, the host put us right in front of the band. The afro-beat electric set blew the roof off the building, an unforgettable sound
The best show I ever attended was the Zawinul Syndicate at the Blue Note in 1997. Being the youngest kids in the room, the host put us right in front of the band. The afro-beat electric set blew the roof off the building, an unforgettable sound. After, my girlfriend and I just sauntered up the stairs to the green room to meet the
band. I posed for a picture with Joe, after talking a little bit about boxing and how to stay healthy while the other guys in the band tore through a bucket of fried