JAMBINAI

The band has released three albums so far and one EP in 2010. This latest EP titled APPARITION ( 發顯 ) hosts a collection of four new tracks that perfectly mix Korea's traditional sounds with the explosive fortitude of post-rock along with some heavier metal moments. The band makes use of a great number of homegrown instruments including the stringed geomungo, the double reed flute called a piri, a free reed mouth organ called the saenghwang and a stringed instrument called the haegum.

The results of this collection of Korean instrumentation along with the cyclical rock bravado of the guitar, bass and drums gives JAMINAI a very unique edge in the world of post-rock which has for the most part gotten rather stale in the last decade or so. While many post-rock bands go sans vocals, JAMINAI makes ample use of several vocalists that serve as supplemental instrumentation to add to the ethereal often startling contrasts which the music constructs. The ethereal male vocals will bring Sigur Ros' classic "Ágætis byrjun" to mind and the haunting female vocals offer ghostly APPARITIONs to the soundscapes that evoke disheartening uneasiness.

This is a short EP at only 26 1/2 minutes but what a fantastic collection of four songs with no filler included! Post-rock requires pacing that allows certain elements to percolate into the conscious mind and then slowly ratchet up the tension to satisfying crescendoes. JAMINAI has mastered all those Jedi mind tricks without falling into the trap of boring monotonous stagnation. The use of the Korean musical scales adds an exotic melodic system that most post-rock these days completely lacks. This is definitely a band that will scratch that post-rock itch and with a collection of tracks that perfectly exudes the imagery of the cover art this latest release isn't a bad place at all to start.

The one track that I did really like from the start was "Sun Tears Red" which could have been on "A Hermitage". That bass line as male vocals mumble away in Korean then a wall of sound from out of nowhere before 1 1/2 minutes as vocals step aside. It does settle back as vocals return but with more passion eventually. An all out assault before 3 minutes and I like when he screams over and over. Intense is the word. My favourite.

My second top three is the opener "Sawtooth" opening with that bamboo oboe as other sounds join in and cry out. A slow start but it's interesting. It kicks in with this heavy rhythm that sounds different with that ethnic instrument crying out. This sounds incredible. Post-Rock styled guitar at 3 1/2 minutes then a calm with those ethnic sounds. Some real heaviness and noise after 6 minutes then that heavy rhythm returns to end it. Nice.

Lastly the title track rounds out my top three. The 7 minute closer like the other two I like has some heaviness with ethnic sounds. I mean this sounds amazing early on as vocal melodies arrive. Heavier before 3 minutes then it settles back some. Strange sounds but I like it. We get crushed at 5 minutes with vocals over top but it settles some quickly.

This is a 4 star album but the longest track "In The Woods" at over 13 minutes is one I can't get into but most of this album works for my tastes. I'm glad to see this album here and on other sites is getting some attention as "A Hermitage" seemed to slip through the cracks which is a shame.

1. "Once More from That Frozen Bottom" (4:08) opening (and closing) with Eunyong Sim's geomungo plucking and strumming, this song travels a very surprising arc--one that is more like a mobius strip--and one that contains some absolutely stunning vocals and vocal arrangements. (9.75/10)

2. "From the Place Been Erased" (5:27) pop icon swja (sunwoojunga)'s vocal makes this eerie song quite powerful. Nice (and surprising) match up with Jambinai. (9.5/10)

3. "Until My Wings Turn to Ashes" (9:22) starting off very spaciously, with lots of use of the traditional acoustic Korean instruments, the song eventually weaves in a few more instruments (bass, saenghwang [reed mouth organ] and, later, drums. By the 5:15 mark the Post Rock slow build has made itself fully present as the haegeum and, by the end of the seventh minute, the fully drums, bass, and electric guitar let one know that this is which happens with an explosion of bass at 7:40. What's really cool, here, is how the bowed haegeum remains fully recognizable--how Bomi Kim remains focused yet also feels as if she is giving her all emotionally. I love this about this band and their music: the traditional acoustic instruments are not allowed to get drowned out by the electronic ones; their contributions are always integral and constant, if not fully foundational, to the soundscape. A perfect Post Rock song. (20/20) 4. "Candlelight in Colossal Darkness" (7:39) a live/in concert version of a previously unreleased tune. Piri and geomungo weave within still jungle of sparse bass and cymbal notes until the 3:00 mark when gently picked guitar takes the lead and the acoustic instruments become the sparse, metronomic support. Ilwoo Lee's piri comes back to take the lead in the fifth minute as the haegeum builds a little dynamic tension. Then, at 5:06, everybody ramps up to weave into a rock audio field for the big finish--which ends up sounding like your average Post Rock climax. (13/15)

Total Time 26:36

A/five stars; a masterpiece of progressive rock music. Jambinai can do no wrong!

This four tracks e.p. starts with "Once More From that Frozen Bottom". After tiny beats from Eunyoung Sim´s Geomungo there comes very powerful wall that we have heard before in the heaviest pieces of Jambinai. In the middle there is calmer part where all the three core members of the band sing first time together. In "From the Place Been Erased" they have guest vocalist that is K-Pop star Swja. Really depressive, but also very touching piece, Swja´s vocals really brings different sound to Jambinai´s music and fits so well! Very interesting is very Metallica sounding part in the middle of song. But still we hear very quiet emotional short part in the end. So the a-side of the e.p. is very strong, but b-side is even better! "Until My Wings Turn To Ashes" is almost epic in it´s over 9 minutes! This instrumental piece grows slowly and in a really great way from quiet music to very poweful. "Candlelight in Colossal Darkness" has so silent and beautiful atmosphere in the beginning with Il-Woo playing positive melody in Piri. This piece also grows stronger towards end. Something same in this as "Connection" from their first album. Very positive ending!

This e.p. promises a lot of Jambinai´s future! Really it seems they´re searching new direction although still sounding just Jambinai! This band has been one the most interesting 2010`s band to me and seems to stay that! Really hope I will see them again alive someday, their gig in Modern Sky festival in Finland was so memorable! These four tracks absolutely deserves 5 stars!

1. "Sawtooth" (7:39) powerful Post Rock that opens with traditional Korean instruments, wind and stringed. These are joined, eventually, in the third minute, by drums and electric instruments from the more familiar realms of rock'n'roll, providing not one but two very impressive rise and falls over the course of the remaining five minutes. Despite this addition of full drum kit, electric bass, and aggressive electric guitar, it is the Korean instruments that remain the attention-grabbers, expressing very powerful emotions. Dynamic and refreshing Post Rock. A top three song. (14/15)

2. "Square Wave" (5:05) rock and traditional instruments are mixed from the start of this one as is the gorgeous, powerful DAM KAT-like voice of Bo-mi Kim. This is so good! Smooth chorus section at the end of the second minute and then a quiet, spacious, section, latent with potential energy, that is followed by an even more powerful instrumental section in the third and fourth minutes before the final crescendo of sound and ending verse in the final minute. The interplay of the electric rock instruments with the Korean acoustics is incredible! Awesome song! Definitely a top three for me. (9.5/10)

3. "사상의 지평선 (Event Horizon)" (3:55) opens in fifth gear with everybody strumming, beating, and screeching at their fastest and then, equally as suddenly, at the 1:00 mark, everything cuts out save for a bowed berimbau-like haegeum and hand drum/hand percussion. By the end of the second minute vocalist Eun-yong Sim (or Bo-mi Kim) is adding her voice to the weave until 2:41 when the electric contingent rejoins and it plays out like a Death Metal song. (8.75/10)

4. "검은 빛은 붉은 빛으로 (Sun. Tears. Red.)" (5:51) single note played syncopatedly from an electric guitar- or bass-like instrument opens this song before being joined by a choir of voices singing quietly in an almost prayer-like chant- kind of way. Amazing! At 1:35 all hell breaks loose as a heavy LEPROUS-like sound breaks out with vocal and Korean instrumental screeches over the top. Just before the two minute mark, this cuts out and a percussion-supported multi-voice, polylyric, polyrhythm section ensues. Wow! In the fourth minute the heavy walls of sound return for a bit but it is then broken up by alternating quick passages of multi-voice shouting and chanting (and intentionally not in unison). In the fifth minute the music steadies itself, not quite as heavy, as Korean violin solos, but then just before the 5:00 mark, the soundscape thickens and weighs down as a male voice screams his lyrics in two-syllable bursts to the end. Wow! I'm not sure how to judge this one! Unlike anything I've ever heard before! Amazing! Another top three song! (9.5/10)

5. "나무의 대화 (In the Woods)" (13:16) opens like a HYPNO5E song with delicate, spacious, almost folk instrumental inputs from all musicians. Even into the meat of the song, at the 3:30 mark, as Il-woo's saenghwang takes center stage and then gets replicated with several other tracks, the music still feels totally folk-traditional. Wild vocals enter in the sixth minute and then oboes. Drums and bass slowly climb in during the second half of the seventh minute, but then there is a calming break in which the saenghwang leads over haegeum, geomungo, and electric bass. Electric guitar joins in the eighth minute just before the pace and density ramps up. This is definitely Post Rock! At the ten minute mark heavily distorted electric guitars and bass begin providing typhoon-like wind noises as the drummer really starts to go crazy. "ooo" vocals repeat a melody from here to end. Nice song with a stunning beginning five minutes that becomes a little long and drawn out. (21.75/25)

6. "작은 위로가 있는 곳에 (Small Consolation)" (5:18) a single note from an oddly tuned electric guitar signals the start of Ilwoo Lee's almost-whispered voice. Over and over this occurs, like a Tibetan prayer cycle, until at 1:15 Bo-mi Kim's haegeum and Eun-yong Sim's geomungo begin to add their sounds behind and round the guitar and vocal/chanter. At 2:25 the full electric band comes crashing in with heavily strumming guitar, bass, and flailing cymbals and pulsing drums. The Korean strings continue their screechy soloing over and within until things go even fuller-dark at the end of the fourth minute. Then, suddenly, at 4:23, everything stops except for the original three plucked/bowed instruments, which then slowly fizzle and exit. (9/10)

7. "그대가 지내온 아픔들이 빛나는 축복의 별이 되어 (ONDA Prelude)" (2:18) drone of a single sustained electric bass note opens while traditional Korean mouth organ (saenghwang) plays a dirge-like tune over the top. Amazing instrument the way it can project two controlled notes at one time! (5/5)

8. 온다 (ONDA) (7:07) launches straight out of the "Prelude" with lots of hard-driving percussion and haegeum provide initial support for the slow, religious-sounding singing of Bomi Kim. Gorgeous! And powerful! Kim is then joined in chorus form by Ilwoo Lee. The music here reminds me of Middle Eastern prog like Ofra Haza. At 3:15, Bomi Kim switches to haegeum and Ilwoo to his bamboo oboe (pim) as the rhythm section continues to drive on at breakneck speed. The full metal impact of electric instruments reaches full strength at the five minute mark just as choral-singing of earlier slow religious lyric and melody ensue. This is, then, what plays out until cymbal crash at 6:35 and ensuing long decay of the feedback from the final strums of the electric guitar and bass. Amazing. I am numb and in humble shock with the power and beauty of this music. (15/15)

Total Time: 50:29

I feel so excited, so humbled and privileged, to have heard this music--to have continued access to it. Some of the instruments, sounds, stylings, and even melodies sound similar to Mongolian band ANDA UNION--though my untrained ear is most likely lumping all Sino-Korean sounds and melodies together.

A/five stars; a masterpiece of mind-blowing progressive rock music in which the band fuses the traditional instruments and melodies of its native cultural traditions with the best and most powerful of Post Rock techniques better that any other band that I've ever heard.

The first piece, that is translated into 'From Fingertips To Fingertips' is the only piece in Jambinai's discography, that's only in this release. It starts with the synth playing one chord that last the whole piece. Soon all the players start quietly improvise great melodies with piri, xylophone, haegum, geomungo & acoustic guitar. Piece is very calm & beautiful, but playing intensity rises towards the end. The next 'Iban' is re-recorded and re- named into 'A Hermitage' as 'Naburak'. The arrangement is almost the same, there are only some different guitar parts. Anyway I really enjoy also this version. The last piece is same as 'In the Woods' in 'ONDA', but also different recording. In progarchives sites this has translated different, but to me Korean alphabets seem to same. Also in this the arrangement is almost the same, Bora Kim's vocals are as dramatic, but has put lot more back. Anyway with the haunting echo it makes really great effect into this great piece. Also there are different electro noise in the end, some spoken words that are not into album version. Hard to say also about this which I love more.

This release is not really essential to others than Jambinai fans. Anyway I will give it four stars, because it already showed how great band Jambinai was from the beginning. I really hope there will come a vinyl version some day.

While most Progressive music artists are turning dangerously close to white mainstream Pop-Rock music lyricism, this South Korea´s band Jambinai: ONDA (2019), 8 track release, sets a distinctive tone and travels a road far less traveled, therefore for the listener it is full of unexpected surprises and this band sure makes these surprises exciting.

To set its geographic coordinates seems essential to understand why and how this album´s sound stands outside the quiet cliched borderlines of modern Prog music and offers in retribution an unmistakable Asian flavor which seems to uncover a close but not unexpected kinship of unwritten musical agreements between Korean folk music canons and western Progressive music´s Post Rock/Math Rock´s ones and even more the RiO´s ones.

As a matter of speaking but it would turn out inaccurate not to mention that its virtues go far way beyond this mixture of musical languages and instruments, or the Folk music turned into a Rock music exotic export product syndrome.

Onda´s creative compositions are enticing by their own. The diversity of moods, musical ideas and craftmanship all add up for a thrilling 4 stars ride of an album, and yes people it rocks!

The band's 3rd album 'Onda' is Korean for 'come', or Spanish for 'wave'. This album, released in June of 2019, consists of 8 tracks and has a duration of over 50 minutes. The line up consists of Ilwoo Lee (guitars, piri, taepyeongao, saenghwang and vocals), Bomi Kim (yanggeum and vocals), Eunyong Sim (geomungo and vocals, Byenongkoo Yu (bass and chorus vocals) and Jaehyuk Choi (drums, chorus vocals). Other guest vocalists are also involved.

The album starts with 'Sawtooth'. This is an instrumental track that features the yanggeum, a type of hammered dulcimer. Atmospheric effects begin in an ambient style with some unique sounds of the Korean instruments. The bowed instrument increases it's sound and suddenly the drums, bass and guitar begin to accompany the featured instrument. The music has a definite lilting-folk flavor, but with the heavy attitude of post rock. Things calm down again before the 4 minute mark then more instruments bring in more atmospheric sounds before rapid percussive sounds drive things forward. The bass plays a throbbing bottom line when the dulcimer comes in, then a sudden outburst throws up a heavy wall of sound. This track has a lot of dynamic extremes.

Next is 'Square Wave' which starts as a dramatic riff generates tension and the lovely vocals begin and a bowed instrument plays a melody between 'verses'. Again, the folk vibe and the post rock sound mix together quite well as intensity is generated by a swirling instrumental break. Subdued vocals return against a heavy background that gives an almost orchestral effect. Later, full vocals come back in with crashing cymbals and a thick background. The next track is 'Event Horizon' in the English translation. This one begins heavy with layers of guitars and drums while on top of it, the bowed instrument swirls around. This suddenly becomes softer as several traditional instruments play together. These are interesting sounding string plucked instruments and it also sounds like a wind instrument is involved. Wordless vocals come in and the intensity builds up again until it reaches the full volume climax with the high pitched bowing making unsettling sounds on top of everything.

The next track (translated) is 'Sun. Tears. Red.' Harmoninzed processed vocals quietly sing while a thumping guitar plays. This gets interrupted by a sudden outburst that soon calms down and then introduces a complex rhythmic pattern as frantic sounding vocals sound out above it, building up anxiety until almost screaming before the instrumental wall takes over. The heavy rhythm continues as the music varies from extreme heaviness and screaming to softer sections. This track is supposed to reflect the fear of soldiers as they awaken to a new day and worry about whether the day will bring on their death. This music definitely portrays feelings of anxiety and anger. Very powerful.

The track that translates to 'In the Woods' is the longest track on the album at over 13 minutes. It starts off very much like a quiet post rock song with a lone soft guitar playing which later gets echoes by another guitar. This track features guest vocalist Bora Kim. The music remains soft and ambient, yet with the guitar melodies playing and atmospheric noises in the background. The music reflects the pain that the Earth is in because of the existence of environmental pollution. Before 4 minutes, a beautiful and lonely sounding horn-type instrument comes in and the bowed instrument comes in later. At five minutes, tortured vocals enhance the painful ambience that the music is portraying. Things intensify slowly as the instruments build their sounds. Layers of sound make quite a statement, then the drums start pounding signaling a climax, but instead the music calms again suddenly. After a minute, the bass starts to churn and the build begins again and grows quickly. The lovely, repetitive melody continues just barely over the top of this huge sound that has been generated as layers of music create another sound wall. At 10 minutes, things become extremely heavy and loud, sounding almost like being in a tornado. It levels out after 11 minutes, but the loudness continues as the wordless vocals sing the short riff. The background backs off and returns, then it all suddenly stops with just the basic instruments playing softly without drums finishes off the track.

'Samll Consolation' starts with a sparse guitar playing and subtle sounds in the background. Halfway through, there is a sudden explosion of sound as several layers of instruments play with a soft pounding slow rhythm. Then later, things suddenly become very intense as the music jumps to another extreme of heaviness. The mix of rock and tradition create quite a miasma of sound. 'ONDA Prelude' is a short track that brings in the title track. It is 2 minutes of distant, ambient musical sounds. 'ONDA' finishes off the album with the 7 minute title track. It begins with a sudden rattling percussion beat accented by the plucked instrument and beautiful and subdued vocals. A moderate driving rhythm pushes it all forward and sounds almost tribal. This track carries a more melodic feel as the vocal melody is a more traditional structure. After the vocals start, things get really interesting as the traditional instruments create unique textures and sound as the rhythm continues driving forward, pushing towards a climactic finish. A huge, dark wall springs up at 5 minutes while a choral vocal sings behind it all, creating one of the best climatic passages I have heard in post rock for quite some time. The track almost leaves you breathless as a drone brings it all back down to earth.

This album is quite amazing. This group takes the post rock formulas and practices and makes it all new. You get the extreme textures of post rock, with some track using the well-worn style of using crescendos to produce climatic passages, but Jambinai takes it all one step further by putting the unique Korean stamp on it by using a lot of traditional instruments that to people of Western cultures might find quite interesting and strangely beautiful. The addition of folk elements even make this more fascinating, creating sounds and music not heard in post rock before. Those of you who think you have heard everything in post rock music need to listen to this. In my mind, this is an essential album that I feel should influence post rock artists to explore and expand their boundaries. I love this sound and have no qualms giving this album 5 stars. Not once was I bored during this album as I was always anxious to hear what comes next. This is definitely one of the best of the year, especially for the post rock genre. Don't let the titles that are in Korean frighten you away. Everyone should give this one a listen.

Album starts very great way and really acoustic in "Sawtooth". Ilwoo starts to play simple, beautiful melody with Piri, soon acoustic guitar and haegum join into it. Then other instruments join and song changes stronger, but the acoustic feeling stays almost the whole song, in the end there is electronic hard wall that is very typical to Jambinai. This song has grown a lot to me when I have listened it more. The next "Square Wave" is the hitsong of this album. The piece starts very rhythmic, both guitar and geomungo making saw- like chords into base of the drums. Soon starts beautiful female vocals, probably it is Bomi Kim who is singing. Song chorus is very beatiful in chamber echo production. Next "Event Horizon" is the least interesting instrumental piece. It includes Ministry-style uptempo noise and quiter pieces that reminds parts from the first album "Time Of Extinction" and second album "Echo Of Creation". Also "Sun. Tears. Red" is not my biggest favourites, but the rage of the song is really impressive, also I like the almost clean guitar parts in the end of it.

The second half of the album is much better than the first one. "In the Woods" is really sad masterpiece of this album. It starts with acoustic guitar and geomungo, but soon bells & electric guitar join. The song grows slowly, but stays acoustic. Guesting dramatic vocals of Bora Kim really fits this piece and the song carries all of it´s over13 minutes. "Small Consalation" starts very minimalistic with whispering vocals of Ilwoo Lee changing more typical, electronic Jambinai. Ending tittle song with it´s prelude is almost as great as "In the Woods". "Prelude" is totally acoustic, actual song starts very suprising after the calmness of prelude. Both Ilwoo & Bomi sign in this piece and in the end there are beautiful, chamber-echoed chorus.

I believe this album will be great introduction of Jambinai to all the Post-Rock -fans. After many listens it has also risen to the level of Differance to me. But I really miss the personality of Hermitage, also the lighter melodies in it. I really hope they will continue more the direction of "In the Woods" than "Sun. Tears. Red". To me this definitely is three stars album, although it may be four stars Post-rock -album. Afterall this really is one of the greatest albums of this year I have heard.

"Time Of Extinction" starts with Eynyong playing a riff in Geomungo. Soon there comes really heavy beat back of it, but also soon the song changes acoustic but keeps its` very depressive feeling in the end of it. Next "Grace Kelly" starts with acoustic guitar and then comes really Ministry-like uptempo electric musicwall. Soon there´s just mystical guitar and ladies of the band singing something very dark. Song ends into same uptempo part. The next "Glow Upon Closed Eyes" is opposite of previous song, it´s mostly acoustic and reminds the ambient songs of Pink Floyd. Both Paramita´s have same structure: quiet acoustic background growing tension that outbursts into end of piece. "Hand Of Redemption" is again uptempo Ministry-like piece that slows into end of it, but stays very depressive. Empty Pupil pt.1 starts with electric noise, but slowly changes acoustic towards it´s part 2. When Geomungo starts it´s riffs, there come also hard beats and songs intensity grows again. The Last "Connection" is the crown of this album: it starts really serene, then comes short electronic sound and after that Bomi starts to play a beautiful melody with her Haegum. Ilwoo joins her with the Piri, also guitar starts to play really beautiful chords into back of the main melody. The song grows really great way. This song moves me always when I hear it!

This first album was really hard to find anywhere soon after it´s release, but gladly there has been made re-releases with different cover that seem to be available at least in Discogs. In my first Jambinai review I forgot to mention that I believe many King Crimson fans will like Jambinai, specially the ones who like KC after seventies material. Both bands have same kind of dynamic changes, from very heavy to really sensitive. This album sounds still so great that I really would wanted to give it also four stars, but because a Hermitage is so much better, I give it only three.