"What the hell instrument is that guy playing?" is usually the first thought that comes to mind when a body sees premier Warr guitarist Trey Gunn on stage. His instrument - which comes in 8, 10, and 12 string varieties - is a true monstrosity; it is as if Dr. Frankenstein and Les Paul collaborated on a guitar. In actuality, Trey's string-infested beasts come from the labs of one Mark Warr - the mad scientist behind "touch guitaring" and the man responsible for providing Trey with his musical voice. Once in the hands of Gunn, the Warr guitar becomes an extension of his body - as he picks, strums, bangs, taps, and bends the instrument producing some of the most distinctive and wonderful sounds on the music scene today. Discipline Global Mobile publicist Lori Hehr (thanks, Lori!) was kind enough to arrange and take part in an e-mail interview with Warr guitarist and King Crimson “bottom-ender” Trey Gunn that goes into Trey’s current solo projects as well as a few questions about the differences between playing with his own band and playing with King Crimson. Trey’s currently touring with his band (and visiting batting cages across the U.S.!) in support of his most recent CD The Joy of Molybdenum,which is an eclectic mix of groove-based compositions and more ambient sounds. Of course, Trey surrounds himself with expert musicians on the CD being joined by guitarist-extraordinaire Tony Geballe, and the incredible percussionist Bob Muller. And anyone familiar with Gunn’s Warr guitar work doesn’t need to be told that Trey is a top-notch musician who’s impressive body of work not only includes solo and King Crimson efforts, but improv work on the “ProjeKcts” and studio credits on many other progressive releases. So, without further ado, on to the questions… EER I have to start with this one: where did you come up with the name “The Joy of Molybdenum". I've done some online research on Molybdenum, and can't for the life of me come up with how it pertains to the CD aside from some of the cover art! Could you please enlighten me and your fans?! Trey Gunn I used to live near a "moly" mine in New Mexico. The stuff intrigues me for it's bizarre properties. EER More on the CD... There seems to be two distinctive styles present on "Molybdenum": the funk-inspired percussive grooves found on the title track and "Hard Winds Redux", and more ambient compositions such as "Untune the Sky" and "Brief Encounter". Was this planned, or was this a result of the natural flow of composing? Trey Gunn Both planned and inspired. I actually would divide the record into the categories of composed and improvised rather than ambient and groove. Composed: “The Joy of Molybdenum,” “Rune Song,” “Hard Winds Redux,” “Tehlikeli Madde,” “Gate of Dreams” Improv based: “The Glove,” “Untune the Sky,” “Brief Encounter” Then you have “Sozzle” which bridges the gap between the two groups. EER How happy have you been with the Trey Gunn Band tour thus far? Could you elaborate a little on some of the high points and some of the low points? Trey Gunn The band is just getting better and better and better. The more we play the more awesome we become. We now have our permanent 4th member – Joe Mendelson who is also playing a warr guitar and the rubber bass. We are smoking. EER What are the major differences between touring with your current band, and touring with King Crimson? I would imagine it's like night and day. True? Trey Gunn The Trey Gunn Band is far more fun. King Crimson is heavy, heavy, heavy! - and I love it for that. Plus the level of musicianship is unsurpassed by any other band that I know of. With the Trey Gunn Band we have a ton of fun on stage and we are tapping into more of a punk rock energy, if you can believe that. [Author’s Note: Believe it! I’ve been to one of the shows!] EER Based on your diary entries, I got the impression that the recent European KC tour seemed to be a very stressful one with Robert's photography issues (Fripp often threatens to walk off stage if audience members take photographs) and Pat's v-Drum problems (technical issues), etc. It almost seemed like y'all had a storm cloud hovering over your head at times! Do you feel that the upcoming Japanese and American tours will be any better, or does the prospect of taking the KC show back out on the road concern you? Trey Gunn King Crimson is always stressful. It comes with the territory. With Crimson everyone is always pushing themselves and the other players right out to the edge and beyond. And once you've gone outside of your own edge it's f**king terrifying. You have no idea where you are or what the f**k is going on. THIS is what makes Crimson awesome, but not a very safe place to sit. Because EVERYTHING is in question: your technique, your musicianship, the music, the musical relationships, the audiences, the venues, the reasons behind playing, the players. Everything! That said, I am in Crimson rehearsals right now and I couldn't be happier… although the terror is, yet again, emerging. There is no other band on the planet that I know of like this. EER Again on the subject of your online diaries. I must say that I find them extremely entertaining and insightful. Is it difficult to internally censor yourself when writing these diaries? Also, are your diary entries contractual obligations, or are you do you just enjoy doing them? Trey Gunn No, the diaries aren't difficult to write. I love writing them. In a certain way I think they me be the most valuable contribution that I can make. And, no - there is no contractual obligation to write them. If there were I would stop. EER Following the KC fall tour, what's next up for you? Will you be pursuing your solo career further, or will you be back in the studio with KC for a follow-up to "the ConstruKction of Light"? Trey Gunn I will be pursuing all of this. I will be organizing another Trey Gunn Band tour for the Winter of 2001, and we will continue to tour as KC as well as begin working on new material. EER Are there any musical artists out there today that you'd recommend to your fans? What types of stuff do you listen to nowadays? Trey Gunn I wouldn't recommend anything to anyone. What I enjoy listening to: Bjork, Aimme Mann, Gabriel, Radiohead, Aarvo Part, Chris Cornell EER Finally, how fast are you up to at the batting cages? Can you handle those 60mph heaters yet? ;) Trey Gunn 60mph I can handle. 90mph??? NO WAY! EER and Michael Askounes would again like to thank Trey and his incredibly professional publicity staff for making this interview possible.
In the back streets of a seemingly forgotten about subdivision of Baltimore, Maryland lies a shrine to progressive music. No, it’s not a statue of Robert Fripp or a monolith shaped like Chris Squire. It’s actually none other than the humble and cavernous Orion Sound Studios – home of the Baltimore Progressive Rock Concert Series, and emotional and physical center of Baltimore’s 21st century underground prog scene. Appearing on September 16, 2000 were the Trey Gunn Band, touring in support of their recent “Joy the Molybdenum” CD (say that five times fast!). A couple hundred folks filed in the joint with their own booze and chairs for what made up an indoor festival like atmosphere. A gentleman near the door was selling tub-fulls of world-wide progressive CD’s ranging from “Isildur’s Bane” to “Happy the Man” to “a band that sounds like a bunch of unhappy people making prog music” (that would be Anekdoten – I’m quoting the salesman there…). What the venue lacked in size and amenities, it more than made up for in charm and a sense of community – you could pretty much turn to any stranger in the audience and strike up an intelligent conversation about your favorite bands, prog web sites, or musicians. All in all, Orion Sound Studios was the perfect venue for a concert given by musician’s musician Trey Gunn and his equally proficient band members: guitarist Tony Geballe, touch guitarist Joe Mendelson, and drummer/percussionist Bob Muller. The stage was set for a great night of experimental music from a true pioneer. When Trey & Co. walked out on stage, the crowd burst into ravenous applause as the boys in the band strapped on, plugged in, and tuned up their instruments. When the music began, the crowd listened very quietly and attentively – as if they were not only grooving on the music, but paying RESPECT to the music as well. Despite its mellowness during the songs, the crowd made more than enough noise in between songs, pouring their positive feelings out towards the musicians. Trey referred to the vibe as a “sit down rock and roll kinda atmosphere” and I don’t think I could’ve said it better myself – the atmosphere was almost beatnik in character, I half expected people to begin snapping rather than clapping in between songs. Most of the setlist was derived from the “Molybdenum” CD, but also included a few tunes from Trey’s Third Star CD as well. As a matter of fact, one of the highlights of the show was the band’s rendition of “Arrakis” off of the Third Star - a track that is both incredibly challenging to the ear while at the same time being soothing to the soul. By listening to Trey’s Warr guitar, I often got the feeling that some King Crimson parts that I initially credited to Robert “Spider Fingers” Fripp are probably actually Gunn. His proficiency at his seemingly hard to master instrument is simply mind-blowing, and Trey is an absolute joy to watch as it is obvious his entire essence is consumed by the music that he is creating. Guitarist Tony Geballe was equally impressive, flaunting a style that was very derivative of Fripp (he even looks a little like Fripp – although he actually stood for most of the show). When Geballe wasn’t taking part in the interlocking guitar licks with Gunn, he was offering a full and robust acoustic-like sound from his guitars, and from an instrument that can only be described as “a half-eaten wooden fruit with strings” that I later found out from Tony was called an electric “Saz”. Newcomer Joe Mendelson and his 10-string Warr guitar added another layer of sound to the band that really added to the overall effect, as well as playing a bizarre instrument known as the “rubber bass.” The musicianship was expectedly high, and the band delivered the goods on all levels. The concert – much like Trey’s solo album - could really be divided musically into two parts: the ambient section and the “funk/groove” section. When the band broke into airy soundscapes, the audience sat in rapture by the beauty of the sound – often swaying (especially the drunk dude stage right) with the sonic vibes. Percussionist Bob Muller added to the trippy scene by making the most of his battery of Indian percussive instruments, making for a sound that can only be described as 21st Century Psychedelia. Once Trey and the gang had sufficiently sedated the audience into a meditative-like state, Muller would lay into the kick drum and wake the crowd up with some tasty funk grooves that really got a few bodies rocking in the crowd. From a listener’s standpoint, while the more ambient mood music was certainly interesting to take in, it was the more upbeat funkier moments that providing the highlights of the show. Especially tasty were the band’s renditions of the tracks “The Joy of Molybdenum” and “Hard Winds Redux” which REALLY got me shaking my money-maker (as much as I could given the cramped environment). I actually looked at the extremely Caucasian crowd during these numbers and wondered how the heck they could remain motionless… it wasn’t that they weren’t enjoying the numbers, but most of the folks were apparently “groove-intolerant”. This reviewer, however, was shakin’ it like a white boy and half-expecting to see Bootsy Collins come busting out from backstage yelling something about “The Mothership”. Despite the incredible prowess that all the members of the band showed on their instruments, the fellow who stole the show in my opinion was percussionist/ drummer Bob Muller. Muller shifted from traditional kick drum/bass rhythms to exotic Indian grooves with unmatched skill. While the emotional output of ALL the players was high, it was Muller that more than anyone else transferred the energy to the crowd. He is truly a virtuoso percussionist, and an absolute joy to watch and listen to, often standing up behind his drum kit to engage the audience (and to shout instructions at the sound board operator). After the final song, the crowd demanded an encore – and Trey delivered the goods with an EXCELLENT rendition of “Rune Song” off the Molybdenum release, providing an excellent ending to a fantastic night of music. Trey even mentioned that this was the first night where he didn’t see anyone walk out! After the show, there was definitely a buzz as folks were waiting for the band to come out and sign autographs. I picked up a copy of Tony Geballe's EXCELLENT 12-string tour de force Native of the Rain (which can be picked up at http://www.disciplineglobalmobile.com/cat/9703cat.shtml), and had him sign it. I also visited the prog rock CD salesman and his tubs of wares and picked up an Anekdoten release. I engaged in conversation with a guy telling him about KC’s newly announced concert dates, and spoke with another prog-head about Radiohead’s latest effort Kid A (which is absolutely incredible, by the way). Leaving Orion Studios, I must admit I felt better about the future of progressive rock knowing that musicians like Trey Gunn exist, that places such as Orion Studios exist, and that the people I met at the show exist. All in all, it was an excellent night of music and camaraderie between folks with common passions – and what else could an “audient” ask for? - Michael Askounes (michael@gscyclone.com)
Trey Gunn Band: The Joy of Molybdenum (CD, 46:55) DGM0001 2000 Discipline Global Mobile P.O. Box 5287 Beverly Hills, CA 90209 CYBERHOME: http://www.disciplineglobalmobile.com Robert Fripp disciple Trey Gunn has taken some time out from his King Crimson day job to produce his new release, the strangely titled The Joy of Molybdenum. The album relies heavily on Gunn's groundbreaking work on 8, 10, and 12 string touch guitars, and also features guitarist Tony Geballe and percussionist Bob Muller. Upon first listen, you will SWEAR that you've found a lost King Crimson disc or are listening to another one of Fripp's "ProjeKcts; however, upon further listening you'll realize that... well... actually you'll still think you're listening to Fripp or Crimson. If anything is to be gathered from The Joy of Molybdenum, it is that while you can take the boy out of King Crimson, you can't take the Crimson out of the boy. And that's both good and bad... The CD kicks off very impressively with the title track, which features some killer low-end touch playing by Gunn and a funky groove laid down by drummer Muller. As a matter of fact, the first four tracks on the CD continue with the groove assault - "The Glove" features some amazing Hendrix-style jams emanating from Gunn's touch guitar, "Hard Winds Redux" sounds like an updated and more danceable version of 80's Crimson classic "Disclipline," and "Rune Song: The Origin of Water" succeeds with some breezy drumming and Gunn and Geballe's tandem "math rock" guitar runs. While Gunn is obviously meant to be the main attraction on these cuts, it is actually Muller's drumming that drives the tracks and keeps the rhythm moving along. It's quite obvious that this band can pretty much throw down a funky groove at a moment's notice, and it is the tracks that take advantage of this asset that are the most successful on the album. Which is exactly why I was totally stunned that the band decided to devote the last two-thirds of the album to a non-descript string of repetitive and uninspired ambient compositions... Where the first few songs on The Joy of Molybdenum were examples of well executed future-rock tunes, the last batch of songs on the album are examples of plodding and uneventful experiments in noise. By taking Muller's effective drumming out of the mix, the songs lose a lot of their power, and instead become a string of bland trance-like cuts one right after the other. The album's closer, "Tehlikeli Madde" picks up the pace a little bit - but by this point the listener will probably have given up on Gunn and Co. or fallen asleep altogether. In short, The Joy of Molybdenum is a very uneven release. The faster and more rhythmic tracks that start off the CD are excellent showcases for the band's instrumental prowess, but the ambient compositions that round out the CD are musical wastelands that simply suck all the life out of the listening experience. Hopefully Gunn's future efforts will focus less on background ambient music and more on in-your-face funk grooves. Unfortunately, with Joy, this Gunn misses his mark. - Michael Askounes (michael@gscyclone.com) CREDITS: Trey Gunn: 8, 10, and 12 string touch guitars, mellotron, theremin, shortwave, smokey guitar Tony Geballe: electric guitar, saz, acoustic 12-string guitar, leslie guitars, UPS guitars Bob Muller: drum kit, tabla, bandir, darbouka, bodhran, dumbek, gamelan drum, rik, metals, shakers TRACKLIST: 1. The Joy of Molybdenum (5:27) 2. The Glove (3:57) 3. Hard Winds Redux (4:08) 4. Rune Song: The Origin of Water (6:13) 5. Untune the Sky (7:17) 6. Sozzle (4:53) 7. Gate of Dreams (5:22) 8. Brief Encounter (5:57) 9. Tehlikeli Madde (3:41) More information on Trey Gunn can be found at http://www.treygunn.com
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