Category Archives: Trey Gunn

Prog Ensemble Staring Into Nothing To Release Second Album “Love” With Guest Appearances By King Crimson’s Trey Gunn & Zappa’s Mike Keneally

For Immediate Release

Prog Ensemble Staring Into Nothing To Release Second Album “Love” With Guest Appearances By King Crimson’s Trey Gunn & Zappa’s Mike Keneally

Produced by Ronan Chris Murphy (King Crimson, GWAR, Steve Morse, Bozzio/Levin/Stevens)

Southern California based Staring Into Nothing wields a foundation of melodic progressive rock to explore new musical and thematic terrain. Founders Steve Rogers (keys and vocals) and Kurt Barabas (bass, vocals and guitars) take a Steely Dan-esque approach to music creation, using the studio and a revolving cast of world class collaborators to create music that observes and scrutinizes the human experience.

Staring into Nothing’s latest album “Love” probes the multiplicity and evolution of romantic love. The album was produced and mixed by Ronan Chris Murphy (King Crimson, Steve Morse, Ulver) and features an awesome line up of collaborators including Gregg Bissonette (David Lee Roth, Santana, Ringo Starr) on drums, Victor Bisetti (Los Lobos) on percussion, Mike Keneally (Zappa, Steve Vai, Joe Satriani) on guitars, Trey Gunn (King Crimson, John Paul Jones) on Warr Guitar, Dave Nachmanoff (Al Stewart) on background vocals/acoustic guitar and Danny T. Levin (Iggy Pop, Twenty One Pilots, Vampire Weekend) on horns. With this album, Murphy and the band sought to refine the melodies and structure of the songs even further than the previous album and provide ample room for the various collaborators to bring their voices to the album. While the compositions by Rogers and Barabas make up the core of the music on “Love,” the music was completely transformed by all the collaborators. The creative process allowed everyone involved to mold its final sound and spirit, and created space for stunning contributions, most notably several remarkable solos by Keneally and Gunn.

Says Steve, “We were trying to explore the varieties of romantic experience from a mature perspective that recognizes its not all good and not all bad, but its all we have. In the end, the message is uplifting because over time love endures and transitions into something even more fulfilling when it becomes legacy and a common set of memories and values. We recorded this album differently than our first one. We worked more closely with the producer, Ronan Chris-Murphy, during the actual arrangement of the songs and benefited from his insights, ideas and contributions. Ronan also brought a commitment to making the best album we could by bringing top shelf musicians to the project like Mike Keneally, Trey Gunn, Gregg Bisonette and Dave Nachmanoff. Also most of this album was recorded in our own studio in Costa Mesa California.”

Watch the video for “Ashes”: https://www.youtube.com/watch?v=96M8D2DW4Gk

“It was a real pleasure to be involved with this project, working with the band and Ronan to find ways to tastefully enhance the impact of these beautifully melodic, emotionally charged songs. I found the songs inspired and inspiring, and I loved the experience of playing on the album.” – Mike Keneally

“Super day and a half of recording. I loved being in the room with these guys stretching out on these songs. Great to hear it all come together.” – Trey Gunn

“A project like this is really exciting as a producer. The band already had strong material with a lot of emotional depth before I got on board, so we had a lot of great raw material to work with. The fact that the band is just two guys, that are open to new ideas, meant we were able to have a lot of fun developing the material and bringing in the right players to explore those ideas. I very intentionally brought in guest musicians that are more known as artists in their own right than being session guys. I knew from working with all of them before, that if I gave them a platform to explore they would bring great things to the project. They did not disappoint. They all brought the musicality we were all hoping for, while enhancing the emotional aspects of Steve and Kurt’s compositions.” – Ronan Chris Murphy, Producer-Engineer (King Crimson, GWAR, Steve Morse, Bozzio/Levin/Stevens)

Staring Into Nothing have crafted their own sound, but their love of strong melody and virtuosic musicianship has drawn comparisons to artists such as Marillion, Porcupine Tree, Flying Colors, early Genesis, Pink Floyd and Rush. Bassist Kurt Barabas is a veteran of the progressive rock scene. He was a founding member of Magna Carta Records artist Under the Sun as well as Amaran’s Plight with Nick D’Virgilio (Genesis, Peter Gabriel, Spock’s Beard). Kurt was also a founding member of Roswell 6, who recorded the album “Terra Incognita” that accompanied a science fiction novel of the same name written by Kevin J. Anderson. “Terra Incognita” featured a who’s who of musicians, including James LaBrie (Dream Theater), Michael Sadler (Saga), John Payne (Asia), and David Ragsdale (Kansas).

Following the break-up of Under the Sun, Barabas starting wring new material with longtime Under the Sun fan Steve Rogers. The two found they had instant and synergistic creative chemistry and set to work creating a trilogy of concept albums that delve into the complex facets of the human experience.  They released their first album “Power” in 2017, which explores the many ways power is used to manipulate, control and subjugate people. It was produced and mixed by Mark Needham (The Killers, Elton John) and features drumming by Matt Chamberlin (A Perfect Circle, David Bowie, John Mayer).

Here’s what the press has said about Staring into Nothing:

“Staring into Nothing melds the epic structure of prog rock with the tuneful moodiness of new wave.” – Huffington Post

“With, perhaps, a little further polish or fine-tuning, many of these songs wouldn’t be out of place on an album like Pink Floyd’s The Wall.” – The Big Takeover

“The nice blend of melody and atmosphere will please fans of prog classics like Rush and Yes, as well as modern titans like Steven Wilson and Opeth” – Alternative Nation

“…should appeal to anyone with an interest in prog rock and even casual fans of the genre could find things here to love about it.” – Sputnik Music 

“Staring Into Nothing is a trio from California who have a very modern prog sound. Musically, they remind me a bit of a mix of Steven Wilson and Roger Waters.” – Progressive Music Planet

“The Prog-Rock-esque powerhouse brings down the house with an eclectic and unique record that will blow your mind.” – Modern Mystery Blog

In support of their new album, Staring Into Nothing has budgeted four videos for the album and have completed the first two. They continue to work on the final two, but they got caught up in the virus lock-down that shut down the video shoots in March.

In closing Steve has this to impart, “That relationships matter even though they can be hard to maintain at times. Also that there is redemption for any of us who stray from the past. That redemption often comes to us through the people we love.”

To purchase Staring Into Nothing’s “Love”: 
https://staringintonothing.bandcamp.com/merch

For more information: https://www.staringintonothing.com/

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com


King Crimson Guitar Legend Trey Gunn Presents “Intro to Modes” 8-Week Music Course – October 15 to December 8, 2018

King Crimson Guitar Legend Trey Gunn Presents “Intro to Modes” 8-Week Music Course –  October 15 to December 8, 2018
Work directly with Trey Gunn on a weekly basis in this group course.

King Crimson guitar legend Trey Gunn is presenting “Intro to Modes”; an 8-week music course that runs from October 15 to December 8, 2018.

For all instrumentalists and singers.

In this course we will break down one of the basic building blocks of music – the modes – into digestible parts, both sonically and theoretically, so they can be used with ease.

www.originalvoice.coach/modes-course/

This course will:
Help you to immediately find your ground in a piece of music
Give you flexibility when improvising
Give you greater color choices when developing your own compositions
Help you grasp command of the core material of music
Give you a long-term pathway to hear deeper into the relationships of the notes

This course is designed to work for all players:
Beginning players – We’ll start with the basics.
Intermediate players – Hone the fundamentals in your hearing for improved playing and writing
Advanced players – Find the gaps in your melodic hearing. Apply practices to close the gaps and take your playing further

Learn to play confidently while capturing the unique quality of each mode in your improvisations and compositions. This ease only comes from the deep exploration based on how you hear, in your own particular way. This course breaks down that exploration into its core essence, step-by-step.

– – –

When most musicians play by thinking in modes, or scales, they tend towards using all the tones equally and without their full meaning. This results in bland musical lines. Lines that come across like white light where, instead, there could be gorgeous color.

How a painter uses color is a useful analogy for working with the modes. Any musical idea can be tinted with one of the modes. The idea remains essentially the same; but the color of the music changes based on which mode you are using.

This course is designed to establish these “modal” differences in your ear so you can use them as you need to, much as a painter pulls from his or her palette of colors.

– – –

Learning about modes isn’t about the information. The information is easy. Learning this material, the way I think we should, is about getting to know each tone intimately within its context – the mode’s center of gravity, or tonal center.

This course will use a progression of practices to develop our sense of each note and how that note fits into its mode.

This is an oversimplification; but based on many years of practice, study and playing I have honed an approach to go directly into the sounds.

First, we learn the sounds. The information can come afterward, simply to help us organize.

– – –

This will be a type of correspondence course with info/practices being presented each week and all of us digesting it together via a Google Group. There is no real-time participation, so any time-zone or personal schedule will fit with our work together.

The course will adapt to the people participating and how things develop as we go along. But the general curriculum will be based on the following progression:

Week 1
General Concepts of Modes
Language And Method For The Course
Root, Fifth, Octave (+ listening/singing)

Week 2
Thirds (+ listening puzzles)

Week 3
Sevenths (+ extra singing)

Week 4
Sixths (+ playing)

Week 5
Seconds (+ composition)

Week 6
Fourths (+ audiation/memorization)

Week 7
Full Modes (+ pentatonics/hexatonics)

Week 8
Locrian/Pathway to Exotics (+wrap-up)

Cost: $299.00
50% discount for Early Registration before October 1, 2018

For more information: www.originalvoice.coach/modes-course

Press inquiries: 
Glass Onyon PR
PH: 828-350-8158
glassonyonpr@gmail.com


King Crimson Guitar Legend Trey Gunn’s 7d Media Label To Merge With DiN Records

For Immediate Release

King Crimson Guitar Legend Trey Gunn’s 7d Media Label To Merge With DiN Records

Trey Gunn (King Crimson, KTU, Security Project, solo artist) started 7d Media 15 years ago. The label began mainly as a vehicle for his own releases/projects and those of his closest colleagues (Tony Levin, Pat Mastelotto, etc…) The label has steadily grown and now encompasses a variety of releases connecting both progressive rock (Stick Men, Markus Reuter, TU etc…) to some of the more unusual world music (Phurpa, Inna Zhelannaya, Kimmo Pohjonen, etc…)

Based in the UK, the DiN label was set up by Ian Boddy in 1999 to release ambient electronica that bridges the gap between the analogue sound of the early 70’s synth pioneers and the digital soundscapes of the more experimental modern exponents of electronic music.

7d Media will be handling the distribution of all DiN Records releases in the USA/Canada.

Trey Gunn says “The merger with DiN Records is an obvious one. My friend and colleague Markus Reuter has recorded many albums for DiN as well as other characters connected to my own line of work — Robert Rich, the producer Flood and others. I am very happy to be working with Ian Boddy and DiN to bring their releases into the hands of fans here in the USA/Canada.”

The back catalog that is now available:

DiN 29 Robert Rich, React
DiN 31 Ian Boddy, Slide
DiN 32 Parallel Worlds, Shade
DiN 33 Markus Reuter & Ian Boddy, Dervish
DiN 35 Arc, Church
DiN 36 Ian Boddy, Pearl
DiN 38 Mazmoneth, Music By Mirrors
DiN 39 Ian Boddy & Erik Wøllo, Frontiers
DiN 41 Parallel Worlds & Dave Bessell, Morphogenic
DiN 43 Ian Boddy, Liverdelphia
DiN 44 Node, Node 2
DiN 45 Arc, Umbra
DiN 46 Eric Wøllo & Bernhard Wosthein, Weltenuhr
DiN 47 Dave Bessell, Black Horses of The Sun
DiN 48 Parallel Worlds & Self-Oscillate, World Adaptor
DiN 49 Ian Boddy, Tone Science
DiN 51 (cd) Ian Boddy, As Above So Below
DiN 51 (vinyl) Ian Boddy, As Above So Below
DiN 52 (latest release) Markus Reuter & Ian Boddy, Memento (releases May 19, 2017)

The latest release, coming out May 19, 2017, is a collaboration between Markus Reuter and Ian Boddy entitled “Memento.” “Memento” (DiN52) is the fifth DiN CD collaboration between label boss Ian Boddy & renowned composer and touch guitarist Markus Reuter. They were there at the birth of DiN in 1999 with their inaugural release Distant Rituals (DiN2) and this latest work not only affectionately looks back to that album but forges ahead into new musical territory.

The album opens with the powerful tour de force of “Gyroscope” with its ever evolving guitar arpeggios and thunderous percussion. The following track “Spindrift” has a mysterious harmonic feel highlighted by Reuter’s beautiful guitar playing & Boddy’s ambient production. “Linger” & “Stay” form a pair of soundscapes where Reuter’s guitar loop ambiences are intermingled with extraordinary analogue textures from Boddy’s Serge modular synthesiser. The former provides a breathing space within the album after the two opening tracks whereas the latter brings the CD to a gentle, drifting close. The title track hearkens back to the duos first collaborative album with it’s pulsing cut up treatment of a Reuter guitar loop soundscape and perhaps informs the listener as to the nature of this “Memento”. Although Boddy often keeps in the background in terms of lead solo work when working with Reuter the track “Deadlock” features an Ondes Martenot style synth line that soars above this dark emotionally laden piece.

Once again Reuter & Boddy have proved to be a potent musical team with their balance of styles producing a complex, deep album. Effortlessly crossing genres between prog and ambient electronica it not only looks back to their roots but creates new sonic landscapes for the listener to explore.

For more information: http://www.7dmedia.com

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com