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[post-rock] (2017) Jambinai - Differance [FLAC,Tracks] {100.XY}

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Description

(2017) Jambinai - Differance


Review:
…Jambinai, a 3-part South Korean band, falls into the deliberate and
methodical camp. Its members are trained in Korean folk, classical, and ritual music, and count bands like Mogwai, Black
Sabbath, and Metallica among their influences. Though the band arrived at a style through extended improvisations, their
music bears the imprint of severe focus and intentionality. But it is not stiff or airless music, rather, it is like a
calculus equation; there is a wonderful symmetry to be found in making two sides, each full of contrasting variables,
match. The band’s first album, Différance, was originally released in 2012, and is now being reissued
following the minor breakout success of the band’s most recent album, 2016’s A Hermitage. 
Though
Différance is separated into 9 discrete songs, the music is organized through contrasts and moves in waves: from
quiet to loud, dissonance to consonance, high to low registers, risings and fallings. The contrast hits hardest in
‘Paramita Pt. 2’, which begins with a single chord strummed tightly, methodically. It seems to cut itself
off, to retreat mid-thought. The chord becomes a progression, rising in pitch before descending and repeating the cycle.
It serves as a warning which is fulfilled abruptly in a controlled explosion: a crashing of drums, guitar chords, held
notes, and feedback. The song, then, splits in half, each side colliding into the other.
Inside of these waves are
suspensions and repetitions, and behind those, the notion that if you consider a sound—or a series of
them—turn it over, look inside it, you will find hidden resonances. Whether it is the violence with which the
band finds release: thundering riffs with metal textures, or in quiet passages built around sustained tones, there is a
devotional, almost religious seriousness to this music, a holy quest to find something sacred in the sounds.
So
it’s the overtones you’re left with. Not the spaces between the sounds, but the collisions and
absorptions, like in the final minute of ‘Time of Extinction’, which features a repeated riff and the
piercing wail of a piri (a Korean flute made of bamboo), played in low and high registers, respectively. It becomes an
extended release, a sharp exhalation that pits two dissonant sounds against each other and, buoyed by that pressure,
floats upward.
When the band does give way to a melody in the final song, ‘Connection’, it is bracing.
The melody is played on a haegum, which is similar to a fiddle, and repeats a short phrase—blossoming before
doubling back on itself. Around it, there is an accumulation of sound, but before it can reach a crescendo, it recedes
and softens. The suggestion is not of finality, but another wave, another variation, another repetition.





Tracklist:
01 - Time of Extinction.flac
02 - Grace
Kelly.flac
03 - Glow Upon Closed Eyes.flac
04 - Paramita Pt. 1.flac
05 - Paramita Pt. 2.flac
06 -
Hand of Redemption.flac
07 - Empty Pupil Pt. 1.flac
08 - Empty Pupil Pt. 2.flac
09 - Connection.flac

Summary:
Country: Korea 
Genre: post-rock


Media Report:
Source                           : CD
Format                    
      : FLAC
Format/Info                      : Free Lossless Audio Codec, 16-bit PCM
Bit rate mode           
        : Variable
Bit rate                         : ~ 650-1000 Kbps
Channel(s)                       : 2
channels
Sampling rate                    : 44.1 KHz
Bit depth                        : 16 bits

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