This CD is my second outing with Djam Karet. Though some may feel it is unfair to compare them to Pink Floyd or to anyone else, after listening to Devouring a number of times, I think that's the best point of reference when attempting to describe the music. Like PF at its best, Devouring has a dreamy sense of other-worldliness to it. One can just lay back, crank the CD player up, and soar into another realm upon the wings of this recording.
Despite the fact that the band's style can be likened to that of the legendary Pink Floyd, it is by no means a slavish copy. The musicians are obviously accomplished in their own right and they demonstrate their virtuosity repeatedly during this hour-plus music fest.
Though I more or less enjoy the entire CD, my favorite cuts are the Night of the Mexican Goat Sucker, the Floydian Forbidden By Rule and the enigmatic Room 40. The weakest cut, in my opinion, is Old Soldiers' Disease. And the liner notes give only the most basic information.
This CD may not be to every taste, but if you are a dedicated prog-rock fan you may want to give it a shot. The spacy Floydian dreamscapes woven here will carry you away.

Djam Karet is one of those bands that's very much an acquired taste. You can't hand just anyone a Djam Karet CD and expect that they'll fall in love on the first listen. However, if you know somebody whose interests run toward progressive rock, then point them toward this excellent recording.

Djam Karet (literally, "the hour that stretches") is very much like King Crimson (although, as another reviewer fairly stated, they do not seem to be as overtly experimental as King Crimson.) Comparisons to Pink Floyd are warranted, I would go so far as to say that Phish fans might also enjoy this record (I happen to be one, and I like it, at least.) The record is heavily guitar-oriented, although not exclusively so, and the musicians make use of a broad array of instruments in constructing this music. (One wonders, however, if the music could be played live without the help of ten of the band's closest friends.)

The tracks themselves are quite excellent, I would suggest that they would make excellent background music but also are interesting enough to merit a sit-down listen alone with just you and the record, to see what the record has to say. This is music with teeth in it, that is at times aggressive but at times quite contemplative as well. The tracks generally are six to eight minutes long, with a few shorter and the longest, "Old Soldier's Disease", clocking in at eleven minutes four seconds. For those used to the three-minute pop song, these tracks probably seem excessively long; for those used to listening to Phish or the Grateful Dead in concert, these barely qualify as "long" at all. (An aside: I saw another reviewer say that some have compared Djam Karet to the Grateful Dead. As comparisons go, it's not a particularly good fit, although colorably it is if you consider only the Dead's musical experimentation like "Blues for Allah" or "Cryptical Envelopment" rather than their overall sound. Generally speaking, comparing a band to the Grateful Dead is like saying that something tastes like chicken.)

The bottom line is that this is a very well constructed record that will satisfy most fans of progressive rock.

Well the track "The myth of white Jesus" resumes all the best melodic music ideas within this interesting album!! Moreover some clever guitar solos, without such excesses typical of those guitar driven modern art rock bands, make this album quite original and remarkable as well ... anyway here you find some spare crimsonesque and floydian references, a few ones, but also such a Djam Karet trademark, characterized by a special atmosphere,sometimes ambient-like, but never boring!! Besides a top-notch sound palette and their skill to perform some improvisational stuff too, complete the whole array of their modern music ideas. The powerful rhytmical section, sometimes reminding of that one by Don Caballero (in a less talented manner or without a particular virtuosity),is the right stuff...nevertheless such rhytmical parts are always balanced!! However I think of the opener track and the already mentioned "The myth of white Jesus" as the best examples of their creativity!!

Recommended art rock stuff, probably the best one by Djam Karet

Djam Karet is one of the best american bands to arrive in the last few years,and after Kansas the most talented and original progressive rock band that side of the atlantic. Yet the comparison with messers Walsh and Livgren ends here, as Djam Karet have developed their own sound which is totally instrumental.
Their music is very atmospheric, melodic with great guitar solos, complemented by expansive keyboards, and powerful bass and drumming.
The lack of any lyrics, give the talented musicians the freedom to develop the music, and expand the solos, which are at times very Floydean, at others reminding me of the solos of Norwegian band Tangle Edge, but remaining original throughout.
Devouring is, in my opinion, their best release to date, and I recommend it highly as a good start to this excellent band.
The compositions are somehow tighter compared to their other albums.
My favorite track is the wonderfully titled the Myth of White Jesus..a short meditative piece with great guitar..really beautiful music! yet all the tracks are great without exception, especially the opener, Night of the Mexican Goat Sucker.
Progressive rock has never had a big market in US, and to listen to bands such as Djam Karet sticking to their creative musical vision gives us, music lovers, hope that not all is lost to the corporate machine..and Devouring is a very good example of that..a MUST BUY!

In the four years since this album's release, it has become a desert island pick for me. It stands up easily alongside the much more recognized bands like...on second thought I'll refrain from the usual name-dropping lest anybody be tempted to pigeonhole these guys. Djam Karet have done both hard-rocking and ambient styles, per their twin 1991 releases _Burning The Hard City_ and _Suspension & Displacement_, respectively. On _The Devouring_, the band seamlessly fuse together both halves, which effectively frames this album as the culmination of the band's 10+ years of songwriting craftsmanship. And what craftsmanship it is, darting effortlessly between memorable hooks and improvisation. The group's sonic palette here is also top-notch, due in no small part to their new 24-track studio. With increased diversity in both songwriting and sounds, this is easily the group's most cohesive effort. It's also the perfect place to start for anybody who is curious about exploring Djam Karet's work.