Reflections from the Firepool (1989/ 2000)
Burning the Hard City (1991/ 2000)
Suspension and Displacement (1991/ 2000)
“Enter the exotic realm of Djam Karet, where lyrics are unnecessary. Where guitars dominate, elevating ears to dizzying heights. Where glorious music rules… mind expanding music.
…Their music frolics on the dividing line between power rock and progressive jazz and eclectic metal and even textural electronics. Utilizing a jam sensibility, Djam Karet has achieved a stunning blend of these genres, a new sound that trembles with growling power.”
Matt Howarth, Space.com
“For those who have grown weary of the exorbitant abundance of – ho hum – recordings by certain progressive rock bands…now is the time to check out the artistry of So. California-based “Djam Karet.”… bands such as “Djam Karet”, the legendary (but still a major force) King Crimson and a few others have continued to expand the proverbial – horizons – via futuristic visions that often usher in renewed vigor and growth. “Djam Karet” continues to dispel any primordial notions of a [progressive rock] genre that has, at times, shifted with the breeze or has been engulfed in obscurity. Perhaps essayist, writer Harlan Ellison inadvertently sums it up. “Hear the music… it is that which is produced in the hour that stretches, the timeless time wherein ALL songs are sung”. (from Eidolons).”
Glenn Astarita, All About Jazz
“Djam Karet… is one of the most spectacular bands in terms of musical creativity born out from serious progressive rock…they have King Crimson’s intensity and Pink Floyd’s spac[ious]ness, as well as references to Tangerine Dream, Gong and even Amon Duul II, although..this is not enough to describe them since they are many more things. The mixture of creativity and intensity, treated guitar sound, and the most advanced electronic devises, are devastating and have no equal.”
ProgVisions
“4 stars
For awhile in the early 90s, it seemed like Djam Karet was on the verge of igniting a new prog-rock movement that placed the emphasis on forward-looking music instead of the sonic retreads doled out by name-brand acts…Fast forward to 1997, and the group’s classic line-up featuring guitarists Gayle Ellett and Mike Henderson, bassist Henry Osborne and drummer Chuck Oken are back with a vengeance and proof that not all prog-rock reunions are such a bad idea after all.
The Devouring finds the quartet delivering jagged, feral epics with a revitalized edge and spirit that reinforce its status as one of the world’s most interesting instrumental rock acts. Blistering and intricately-crafted guitar works, snaking rhythms, and Mellotron and Therein textures make this adrenalin-charged release one of the finest avant-rock discs of recent memory….one hell of an album.”
Anil Prasad, Innerviews
“Djam Karet, at the turn of the 90s, was one of progressive rock’s most interesting ensembles, pioneering a sound that was all their own, one that combined a variety of influences with a unique Californian outlook, a creative instrumental rock that set them apart from their peers….After of few years of hard times for the group…a new CD has finally come out showing that Djam Karet have regained their momentum, reliving the days of their excellent “Reflections from the Firepool.” The most noticeable difference is the liberal use of Mellotron…It’s a nice change of pace for the group, with the music far more melodic than previously…There are over 70 minutes of music here, all of it high quality and sounding good.”
Mike McLatchey, Exposé
“Djam Karet rattled the progressive world when they released their visionary two-disc set “Burning the Hard City” and “Suspension and Displacement”, which show-cased the two extreme split personalities of this California instrumental four-piece. The former was a bone-crushing excursion into heavy power rock with anarchistic guitar solos, and the latter was a brilliant diary of dark, eerie ambient soundscapes. Six years later, the album that nobody thought would happen has happened. “The Devouring” combines all these elements into a release that is more similar to 1989’s “Reflections from the Firepool.”…Djam Karet might not be the most prolific band in America, but their music has always been far-reaching enough to make them the most important. This long-overdue release is sure to please many a fan, and better yet, its likely to earn them many new ones.
Dan Casey, Exposé
“For the most part, this is classic Djam Karet, crankin’ progressive rock with guitars ablaze…The inclusion of the Mellotron creates a nice contrast for the generally heavier goings on and gives the music that classic prog feel…It has been a long wait, but one worth while from one of America’s great progressive units.”
Dean Suzuki, Exposé
“The Devouring” is their first recording not released on their own NC Productions label and it summarizes more or less a decades worth of their own work…Djam Karet manifests itself as a true instrumental chameleon, incorporating heavy guitar rock, ambient and electronic soundscapes and also melodic, symphonic/progressive atmospheres in a Pink Floyd/Porcupine Tree style. Djam Karet made yet another fantastic album that will please any fan of this unique California combo but will enable new listeners to phase in real easy, as the CD offers a bit of everything from the mind-blowing Djam Karet world. An ace album, highly recommended. ”
Crohinga Well
“Night of the Mexican Goat Sucker,” the opening track, is Djam Karet in a nutshell: odd time signatures, thick orchestration, other-worldly guitar harmonies, aggressive bass line that Tony Levin would be proud of and a central keyboard riff that jangles the nerves and awakens the senses…Challenging to listen to and full of surprises, “The Devouring” is essential for fans of prog-rock.”
James Bickers, The Courier—Journal
“what is the last recent, decent, guitar-based, instrumental, non-insipid, intelligent progressive rock album that your have heard?…If you answered “Ermmmm” then you want this…This is a solid, quality piece of progressive rock, the like of which should form the staple diet of many.”
Phil Kime, Audion
“The Devouring is a harmonically rich and beautifully recorded outing that features melodic compositions, and…”mellotron” along with more emphasis on colorful DFX backwashes. With that and the band’s sturdy yet hard-edged attack and memorable compositions, The Devouring is a wonderful exposition of classic 70’s style prog-rock intermingled with contemporary concepts, strong soloing and thoughtful arrangements… a first-rate and extremely classy production…one of the recorded highlights of 1997.”
Glenn Astarita, All About Jazz
“After a lengthy absence, the always classy Djam Karet returns with another cutting-edge, all-instrumental progressive work …
The Devouring skillfully blends diverse elements, from the Crimson-style guitar angularities to Pink Floyd-like atmospheres. Hard rock (“Night of the Mexican Goat Sucker”), ambient (the opening passage of “Lights Over Roswell”) and even heavy psych (“The Pinzler Method”) , are tastefully homogenized into the whole.
….This is one of Cuneiform’s most overtly progressive-rock albums in recent times, and a sure winner. Highly recommended.
John Collinge, Progression
“This is an excellent album. It is mainly guitar oriented and there are some outstanding Guitar passages. There is also some very nice keyboards and the band work well together to get a nice flowing loose feel to the music.
Any fans of Camel, Ozric Tentacles would like this album and it is one that I highly recommend.”
Stormbringer
“As if the band’s earlier music hadn’t already scorched the ceilings of heaven, this new sonic incarnation burned like a stellar nova.
Guitars still dominate, their chilling electric wail more in-your-face than ever. The dynamic is hard-pressed to keep up. The bass has mutated, becoming more hyperactive and intricate, The presence of keyboards are no longer incidental, becoming a regular feature in the compositions, with richly rewarding result. This expansion of sound only increases Djam Karet’s addictive appeal;, giving the power rock a touch of contemporary classical sensibilities.”
Matt Howarth, Space.com
“…these 10 instrumental compositions masterfully absorb prog, ambient, fusion and classical rock elements into a potent aural elixir. The instrumentation alone makes for great reading – 7, 12- and 24-string guitars, e-bow, koto, theremin, bottled bass, violin… the list goes on. The guitars themselves are used for everything from buzz-saw attacks to mild riffing. Djam Karet know how to keep things lively without resorting to pretentiousness, and they also understand the need for contrast… the best approach to experiencing The Devouring is simply to enjoy its engrossing sonic ride and the band’s superior musicianship.”
Bryan Reesman, New Age Voice
“The music as a whole is sort of prog laid on a bed of driving rhythms and beautiful laid back guitar that [Wishbone] Ash themselves are so famous for… there’s something for all open minded rock fans here.”
Wondrous Stories
“Buy their masterpiece “The Devouring””
Greger Ronnqvist, Stormbringer
”…mixing elements from New Age, Heavy Metal, Ambient, Eastern- and Electronic music, [they] have created a unique sound that is hard to compare to any other band. You can hear some King Crimson, Ozric Tentacles and influences from the classic bands such as Genesis and Pink Floyd…
Their music is sometimes emotionally dark and quiet with floating keyboards, and sometimes heavy, exquisite and aggressive rock with pulsating rhythms. They are mixing electric instruments with acoustic ones, and they have a great sense for good and melodic music…In my opinion, this is one of the best albums to come out in 1997… Recommended!
Greger Ronnqvist, Prog-Reviews
“Those who were present on two warm nights at Baltimore’s Orion Studios…were treated to an incredibly powerful, commanding show that left heads shaking and ears ringing by the end of the night. Djam Karet is a Balinese phrase loosely translating to “time that stretches” in honor of the lengthy jams that the band favored in their early days. The one new tune on the live disc is an improvisation that opens with a remarkable sense of restraint with some spacey guitar playing that develops into a solid beat and ultimately catches fire. Many of the tunes build slowly but then reach intense climaxes with a wall of blazing, feedback-drenched guitar crescendos... the music is tension-filled and has a sense of foreboding…The bottom line is that this qualifies as one of the best live recordings that I’ve heard and it qualifies as an easy “top ten” selection from my best of ’99 list.”
David Ashcroft, Exposé
“Part of the band’s mystique of character lies within their seemingly inherent abilities to generate excitement of an often climactic nature with is altogether evident on their brilliant 1999 effort, Live at Orion (sound studios) recorded in Baltimore, MD. Simply put, this recording is destined to become “progressive rock” classic (no jive here)! Few other bands are able to seize your attention in such fashion without losing a grip throughout these seventy-four minutes of music magic. On this release, the musicians construct sonorous melodies in dramatic fashion as they pursue gradual developments via scorching clear-toned guitar riffs, burgeoning rhythmic structures and craft interplay, yet it all reverts to a distinct sense of heightened intensity, suspense and cunning thematic invention. Throughout, the band takes the listener on an emotional roller coaster ride…in true expressionistic improvisational form, the musicians intelligently devise themes and motifs that touch our souls yet contain the perceived impact of a runaway freight
Glenn Astarita, All About Jazz
“for those who have yet to sample their unique brand of fiery instrumental rock this is an excellent place to start. LIVE AT ORION was recorded during two performances at Orion Sound Studios…it “accurately captures the fine balance between improvisation and structure” that is at the heart of their music.
All the explosive Djam Karet trademarks are here; blistering guitars, thundering bass and incredibly tight drumming. Keyboard, although present, are mostly used for effects and sequences, leaving ample space fop guitars, guitars and yes, more guitars. This is a guitar lovers dream… LIVE AT ORION captures Djam Karet in blistering form. I can’t wait for their next release.”
David Griffith, Audion
“All the classic ingredients that have made Djam Karet such a popular band for 15 years are here in generous quantities with 74 minutes of music spanning 4 albums… Recorded live without overdubs this is an essential purchase for Djam Karet fans and anyone not yet converted would do well to check this out as an excellent introduction to a very talented band.”
Phil Jackson, Acid Dragon
“Djam Karet have attracted considerable attention for their intellectual guitar-driven fusion of progressive music and power rock. This 75-minute live release draws upon material from several of their albums and includes a wondrous 14-minute improv piece that exemplifies the band’s predilection for expansive structure.
Guitars – strummed, carefully picked, scorched and tortured. Guitars weaving riffs from all directions, eclectically layered to produce ecstatic peaks and soaring melodies. Add growling bass and hyperactive dominance drums. Some keyboards, but the real emphasis is upon the interplay of brilliant guitar work. No vocals….the performance is glorious…”
Matt Howarth. Space.com
“you can hear reminiscences [of] Genesis, King Crimson, Ozric Tentacles and Pink Floyd.. This is an honest album you shouldn’t be disappointed with…”
Greger Ronnqvist, Stormbringer
“The songs are more and more structured, reserving a smaller space for free improvisation, and present a great variety of atmospheres and musical moments. This work is a perfect synthesis of the duality of the band, a mixture of aggressive and elastic guitar music with the most advanced electronics, and for this reason it is the album that most closely resembles Reflections in the Firepool. It is a delicious and risky work…”
Jaume Pujol, Alfonso Agora & Jose Nafria, ProgVisions
4 stars
“When I have listened to the albums of the Californian Djam Karet…I have always tried to imagine who they would sound in concert, how a performance of these great musicians would be, when they look for the balance between composition and improvisation, according to their own words… it has to be an unforgettable experience to attend one of their concerts. This has been corroborated after the release of this work, the live album Live at Orion…In summary, a great work in concert of one of the most interesting bands in the international progressive scene.
Jaume Pujol, ProgVisions
Reflections from the Firepool (1989/ 2000)
“This is a highly recommended album of instrumental prog from a vastly underrated U.S. band… Off beat, heavy rhythmed, with a powerful guitar sound that excites and moves, this is high energy stuff… Buy and enjoy.”
BL, Wondrous Stories
“Celestial atmospheres smoothly shift to Deadhead-length jams, bristling with dense textures without over-intellectualizing large odd numbers. Pretty interesting stuff…”
Ron E. Zulaica, Alternate Music Press
“Repackaged and reissued on the “Cuneiform” label, this is the recording that opened up some doors for the band, as their overall sound and style eventually blossomed and matured. And, besides the musician’s propensities to churn out booming rhythms, blistering cavalcades of crunch chords and dynamic lead soloing, the band is equally adept at melding multilayered EFX and ambient chords into the grand scheme of things…perhaps, modus operandi for future endeavors….Here, the band goes for the jugular as they pursue impacting motifs amid heated interplay and cunning developments, in a loud yet purposeful sort of way. Hence, Reflections From the Firepool serves as an insightful introduction to a group who subsequently produced a series of thoroughly impressive recordings while also becoming one of the finest and most entertaining progressive rock bands on the globe!
Glenn Astarita, All About Jazz
“Guitars: eclectic, acoustic, steel, six-string. Lots of guitars, crunching and wailing and growling. They’re crunching with the intricate drumming. They’re wailing with uncommon passion. They’re growling with the sultry bass. They’re in your face, they’re in your ears. They’re incredibly captivating.”
Matt Howarth, Space.com
Reflections from the Firepool…was a sound explosion dominated mainly by emotive burning guitars, accompanied by atmospheric keyboards, accelerated percussion and multiple effects…The music moves in the frontier of progressive rock and electronic music, styles that are perfectly assembled….”
Jaume Pujol, Alfonso Algora and José Nafría, ProgVisions
“5 stars
Reflections from the Firepool is the classic album par excellence of the Californian Djam Karet and, as such, it should be compulsory in the collection of any fan of progressive rock… I am speaking of an exceptional work…. The American are one of the most unknown bands and, at the same time, more interesting [in] the history of international progressive rock. The wide synthesis of influences that the Americans store is very difficult to equal,.. its music like a mixture of the most powerful fusion, the Crimson progressive, the space[i]ness of Floyd, the electronic sound of Tangerine Dream, ambient psychedelia, electric jazz and ethnic music.. If you don’t still know the group, you don’t know what you[‘re] losing.”.
Jaume Pujol, ProgVisions
Burning the Hard City (1991/ 2000)
“Although they’ve managed to barely skirt the insatiable feasting by jam band lovers if Phish and Govt. Mule, California’s Djam Karet may be partially responsible for the rise of free-form instrumentals and rock-edged improves in the ‘90s. Since the late ‘80s, this quartet has roamed the West Coast festival circuit with a soaring, hard-rock attack that condenses the bombast of King Crimson with the cosmic glide of Pink Floyd, then tosses in some Windham Hill ambiance for blissful conclusions…for anyone who has heard them, the listener usually takes one step back in awe.”
Richard Proplesch., Jam
“Without a doubt, it is an album that doesn’t [have] any defect. The concepts “technique”, “fusion”, experimentation”, “power” and “quality” all shine .. the necessary ingredients for any gourmet that appreciates quality inside progressive rock.”
Jaume Pujol, Alfonso Algora and José Nafría, ProgVisions
“[Burning the Hard City] showcases the band’s engaging and complex twin-guitar attack, propelled by complex but driving undercurrent. The band’s music, which is entirely instrumental, skirts the borders between progressive rock, jazz and avant garde. The Burning disc is, perhaps, the group’s most accessible with some superb soloing, especially on the intense “At the Mountains of Madness” and the title cut. The music has a hard rock edge, but with the same integrity and vision as bands like King Crimson.”
Mick Skidmore, Relix
“This one displays the band’s harder side, with raucous guitar frenzies and gripping rhythms… Intensity is as strong a keynote here as the sinuous nature of the music. ..memorable melodies and unbelievable epic riffs.”
Matt Howarth, Space.com
“will suit the more conventional rock fan, being the more accessible guitar-driven rock…Bands like Djam Karet deserve applause for producing this sort of music…”
Martin Hudson, Wondrous Stories
“Burning offers a mind blowing array of guitar driven fusion while S&D is a nocturnal soundtrack incorporating elements of ambient electronics and more. Essential for disciples of cosmic bands like Gong or Ozric Tentacles, both albums haven’t aged a bit and still sound great.”
Silverstein, 20th Century Guitar
“…the band’s fiery, hard-hitting 1991 release, Burning the Hard City is yet another powerful recording that boasts pounding rhythms and punishing chord progressions as the band judiciously maintains their acute compositional responsibilities throughout all of the fire and brimstone, blazing lines and shifting rhythms.”
Glenn Astarita, All About Jazz
“…the twin buzz-saw guitar assault which is “Burning”. Gayle Ellett and Mike Henderson trade off more inspired soloing on these seven tunes than some well-know guitarists spit out in a lifetime. The genius behind it all is the use of layers of effects processing to achieve mind-blowing, speaker-splitting tones which give the music its ferocious intensity, rather than resorting to the more mundane thrash-metal approach. While the guitar work is certainly ablaze, drummer Chuck Oken Jr. and bassist Henry J. Osborne function together as a well-oiled machine which fuels the fire. Their interplay is legendary, and their cohesiveness classic. Heavy and intense, but ultimately very artistic and creative, Burning will still leave your jaw on the floor.”
Dan Casey, Expose
“‘Burning the Hard City” -invigorating, quixotic music that never stands still, constantly probing the boundaries of rock metal progressive with crunching, wailing guitars and frenetic, schizophrenic bass and drums … Intelligent, uncompromising music beautifully packaged – recommended!
Phil Jackson, Acid Dragon
“Fans of guitar dominated instrumental prog rejoice. Burning the Hard City by Djam Karet has been reissued. This band pulls off progressive rock changes and melodic power all the while blending it with very listenable grooves. The result is prog that is melodic, adventurous and entertaining. The band seems to capture good solid rock and roll textures within the context of instrumental prog better than just about anyone else. If you like the later incarnations of King Crimson, you will most likely eat this album up.”
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“…with these re-releases of DJ’s magnum opuses (opi?!), BURNING THE HARD CITY and SUSPENSION AND DISPLACEMENT, we can see once again how important this band is. BURNING is cruel and unrelenting, a furious howl of Crimzonian proportions. Not upon hearing, however, that they do not sound even vaguely Crimzoid. By this time they had digested their influences.. and fashioned an open-ended, melodic attack that…stuck to the basics but did them better than anybody…Like their fellow Los Angelo band the Byrds…DJ build their songs on shifting guitar patterns, rather than base them on melody as most of the European and Brit proggers did. A very folky was to construct a prog band, and DK are unique in this… Incredible stuff, and if the opening sirens of the title bit don’t drag you kicking and screaming into the speakers, why you’re too well adjusted.”
Ken Egbert, Tone Clusters
Of Burning and S&D
“It is virtually impossible to comprehend how both of these albums could have been produced by the same four humans at the same times, which is a true testament to their inspirational vision and fearless exploration. These are the pinnacle Djam Karet albums, mandatory desert island discs, and well-deserving of the highest possible recommendation.
Dan Casey, Expose
Suspension and Displacement (1991/ 2000)
“The S&D disc shows just how exploratory the band can get with its more ambient electronic soundscapes. The disc is a complex mixture of studio wizardry and improvisations. The music these guys make is often called “progressive rock,” but their sound is way beyond that moniker, so don’t let it put you off. The group has been responsible for making some of the most experimental and stimulating music of the last decade…”
Mick Skidmore, Relix
“Djam Karet oscillates somewhere between the ‘70s experimental sounds of Pink Floyd and King Crimson and more postmodern German electronica. Suspension and Displacement tends to emphasize on sound textures, dynamics, and ambiance…a highly successful collection of atmospheric, ominous, eclectic, and creative sounds that are excellent for contemplation and reflection.”
RET, New Age Voice
“This is a rerelease of a 1991 album widely considered to be an early milestone in guitar drone music. Djam Karet (Indonesian words meaning “elastic time”) stands today as a pioneer of eerie effects processing in the guitar looping subcategory of ambient electronica.”
Napra Review
“…this heavily processed studio recording, replete with loops, layering and electronic embellishments, is… a masterly work. In fact, it rivals anything in the genre recorded before or since, and sounds just as fresh now as it must have in 1991.Influences are identifiable—certainly Brian Eno and Robert Fripp, a touch of early Steve Reich in some of the phase-shifting and perhaps a bit of Terry Riley’s Eastern drone mysticism. One of the more percussive, rhythmic pieces brings to mind the fourth-world exoticism of Robert Rich. But Djam Karet don’t wear their influences on their sleeve, and none of the nine selections on the CD is even remotely imitative…a truly satisfying listen, from beginning to end.”
Bill Tilland, Alternative Press
Suspension… could possibly be described as an ambient process music but is really more than that. Here we find… brilliant use of effects processing and looping…used in multiple layers and fragments to piece together collages of sound which involve guitars, synths various percussion instruments, and some unforgettable voice samples. The most unique characteristics about the album is the complexity and business, which propels the music without being intrusive. There are a phenomenal number of things going on, which is particularly rare for the genre, and it is all assembled in a very intentional and expressive fashion….These [S&D + Burning] are the pinnacle Djam Karet albums, mandatory desert island discs, and well-deserving of the highest possible recommendation.”
Dan Casey, Expose
“…a cauldron of tape loops, vague disquiet, synths and schizophrenia. A sort of Fripp and Eno album without Fripp and Eno…I recommend these goodies highly…”
Ken Egbert, Tone Clusters
“This one displays the band’s more ambient side: with atmospheric auralscapes tinged with a lurking intensity. Here, the guitars share the sonic stage equally (and joyously) with synthesizers and soft percussives.…Far from passive, this music has numerous passages that exhibit teeth-grinding severity.”
Matt Howarth, Space.com
“Suspension and Displacement represents a comprehensive study in airy soundscapes, layered EFX, tribal-like rhythms and ethereal backwashes along with some eerie Science Fiction style spoken word…”
Glenn Astarita, All About Jazz
“…a pure marvel, although it can not be described as progressive rock… These are slow and encircling pieces that flow relentlessly, without any hurry or hope, based on keyboards, synthesized and treated guitars in long cadences, and multitude of electronic and percussive effects in search of the perfect rhythm for each moment…a sad and melancholy sequence that describes unhealthy and desperate atmospheres… In summary, a great album from these great teachers of innovative and really progressive music. A jewel for exquisite gourmets far from the reigning mediocrity. There are no stars enough in the sky to grade this masterpiece.”
ProgVisions
"Pack whatever you need for a trip, because there is some potent space music on this disc. This may be the best DK recording yet, which is a mouthful, considering that the bands now voluminous output is amply studded with gems. Their brilliant synthesis of abstract mind-trip and concrete butt-kick is at an all time high here." - Progression / Larry Nai
"A reinvigorated DK appears in full force to blow away their last studio recording, 1997?s The Devouring...they have come up with the best-recorded and one of their strongest efforts in their 11 album career. The complex compositions and empathic playing are highlights, and the band proves once again that they are at the absolute forefront of the instrumental progressive genre." - Expose / David Ashcraft
"It must be love or insanity that keeps this veteran progressive rock group together after about two decades of pointed obscurity...In another context, Gayle Ellett and Mike Henderson would be heralded as guitar demons, a duo in a lineage of Jeff Beck and Eric Clapton or Robert Fripp & Adrian Belew. Their twin leads, morphing with all the guitar technology at their disposal are wonders of sonic architecture. The rhythm section negotiates switchback rhythm changes and locks into kinetic grooves. While rock instrumental groups like Tortoise are content with meandering noodling, DK adheres to an ensemble aesthetic that puts more emphasis on structure, which in turn triggers explosive solos so lacking in jam bands." - Tower Pulse / John Diliberto
"5 Stars Out of Five" - Elias Granillo / Sea Of Tranquility
"If you yearn for top-drawer, metal tinged prog chockfull of classic synth textures, spacey yet incendiary dual guitars, and tight drum and bass grooves - this tasteful and well produced CD is for you." - Guitar Player
"I?m happy to announce Djam Karet have not sat back on their past efforts, instead they?ve taken their musicianship up another notch or two, pulled out a couple of wonderful surprises and given us their best effort yet in A Night For Baku. It?s a truly magnificent recording in every respect. In my mind, there is no longer any question: Djam Karet is one of the front line bands in progressive rock today. " - Jerry Lucky / Ghostland
"...Baku emphasizes the band's fiery side in much the same way that Burning The Hard City did, except it benefits from the maturity that so glowingly showed up on New Dark Age and its companion album, Ascension...The band's trademark pentatonic fire is balanced nicely by both the brighter and darker themes, adding a diversity that Hard City never approached." - Mike McLatchey / Expose
"Amazing how these guys are still able to bring it. A Night For Baku turns it up a notch and then kicks it into overdrive finding the boys from Cali unleashing their usual assortment of psych-tinged progressive mayhem. Somewhere...someplace...the Progressive Gods are looking down on us with a big grin on their faces...Djam Karet have delivered the real goods again." - Ken Golden / The Laser's Edge
"...there are many things one can do in an hour, but it is unlikely that many will be so rewarding as listening to A Night For Baku." - Mark Hughes / DPRP
"...listening to the band's 7th studio release...was a voyage into a new dimension...Baku definitely needs much more than one spin, as this is not an easy album to digest, but a high quality one." - Marcel / ProgPower
"...a must have for all those who think that progressive guitar is a horse being perpetually resuscitated so that axe-slingers can send it back to death?s door and a must have for this year." - Jedd Beaudoin / Ytsejam.Com
"...the band delivers an astounding dose of intensely complex instrumental melodies and stratosphere-scraping crescendos. Multiple lead guitars wail and scream with emphatic passion, evoking sonic fingernails that dig into the audience's cerebellum with their relentless fervor. Rapid-fire drumming propels this savage frenzy to even higher velocities. Gritty basslines flow like liquid through the molten mix, rumbling like collapsing mountains. The fusion of these sounds rages like an effervescent phoenix, emerging from cloudbanks of heavenly proportions to explode into panoramic displays across the sky, blazing brilliantly enough to blind even by daylight..." - Matt Howarth / Sonic Curiosity
"...all in all, I feel its another solid release from Djam Karet, a band who don't seem content to 'sit on their laurels' and continuously underscore what progressive rock means, even as the defintion of that term shifts. Rating: 5/5." Stepahanie Sollow / ProgressiveWorld.Net
"...not only is this the most spacey album the group has made, but it's best album they made so far. An absolute masterpiece. Well done guys!" - Ron Steverink / Audion
"...Gayle Ellett and Mike Henderson are the most soulful two guitar team in progressive music at the moment as far as I am concerned. It is nice to hear adventuresome music that still has a rooting in blues..." - Sean Tonar / Progressive Ears
"...Djam Karet is science fiction for the ears: surrealistic epics from other worlds that will broaden your horizons and make you stare into the sky with wonder." - Michael Hopkins / Valley Scene
...[Baku] is the band's best sound since Burning The Hard City and a landmark recording for them. Highly recommended as a top candidate for my best of list of 2003..." - Jeff Melton, Expose
"...Baku consists of 9 marvelous songs, which after each song we strongly feel the sensation there are still a lot to be discovered over the whole album. Still following their characteristic, the delightful moments of a salutary psychedelism are kept as well, and on each song a new, and imaginary voyage is taken, mainly by that kind of listener who use to let the music share of his inner world, helping him off and on to forget a little bit about his daily trouble. Also, the interplay between the guitars and keyboards are perfect, what often catch the listener?s attention, and keep him attentive that an outstanding tune will flow of a sudden, and bring his life a bit of joy thereafter." - Srgio Motta / ProgressiveRockBrasil