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Trey Gunn Band
"The Joy Of Molybdenum"
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Texas guitarist Trey Gunn, a member of King Crimson since 1994, serves up his fourth solo album, "The Joy Of Molybdenum", an all instrumental release which showcases him on his unique 8, 10 and 12 string touch guitars. Bass Guitar Magazine stated, "Big, bad bass ostinatos, slinky odd-time signatures, and percussion from every corner of the the globe are the basis for this collection otherworldly soundscapes from Gunn," while reviewer Bill Milkowski offered, "Trey Gunn (a kind of bottom-end Stanley Jordan) weaves complex lattice-work patterns with multiple overdubs by himself, Holdworth-inspired guitarist Tony Geballe and the intensely disciplined drummer Bob Muller. Dissonance and nasty distortion tones reign on the industral slamfest called "The Glove" while Gunn taps out hypnotic ostinatos on "Hard Winds Redux" and the African influenced 'Gate of Dreams.". "Sozzle" is a Crimsonesque odd-metered jam, while "Brief Encounter" sounds like Frippertronics goes to India."
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05:27 |
The Joy Of Molybdenum
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Instrumental
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03:57 |
The Glove
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Instrumental
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04:08 |
Hord Winds Redux
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Instrumental
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06:13 |
Rune Song: The Origin Of Water
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Instrumental
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07:17 |
Untune The Sky
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Instrumental
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04:53 |
Sozzle
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Instrumental
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05:22 |
Gate Of Dreams
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Instrumental
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05:57 |
Brief Encounters
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Instrumental
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03:41 |
Thelikeli Madde
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Instrumental
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Trey Gunn |
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10 and 12 String Touch Guitars, Mellotron, Theremin, Shortwave, Smokey Guitar, Engineering, Production |
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Tony Geballe |
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Electric Guitar, Saz, Acoustic 12--String Guitar, Leslie Guitar, UPS Guitars |
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Bob Muller |
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Drum Kit, Tabla, Bandir, Darbouka, Bodhran, Dumbek, Gamelan Drum, Rik, Metals, Shakers, Engineering, Production |
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Robert Frazza |
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Additional Engineering |
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David Bottrill |
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Mixing |
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Chris Muth |
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Mastering |
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Phillip Sztenderowicz |
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Mastering |
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Ioannis |
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Art Direction, Design, Digital Paintings |
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Alan Chappell |
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Art Direction, Design |
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Lisa McKeever |
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Front Cover Metal Painting |
Recorded at Dangerous Music and Subliminal Studios.
Mixed at Dangerous Music.
Mastered at Sterling Sound.
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Vol. 17, No. 2: Feb.-Mar. 2012
