(55:32; 7D Media) King Crimson alumnus and touch guitar master Trey Gunn released this album in 2015 and is a combination of live performances based on Peter Gabriel's “Here Comes The Flood” and music for a film score, ‘Every Beautiful Thing’. Gunn is known for producing original works in his own unique manner yet the work for the film saw him producing a cover of   Bob Dylan's “Not Dark Yet” where he was joined by singer Dylan Nichole Bandy who also sings on the last song on the set, “The First Return”. These two vocal numbers are the bookends to what is a compelling album in so many ways, which is all Trey. It is atmospheric, entrancing, and compelling, taking the listener into new dimensions and sonic possibilities. Gunn here demonstrates all the techniques and skills he brought to bear with Crimson, and demonstrates many of the musical experimentations of Fripp and Adrian Belew, and given he was in the same band as both of them for so many years that is hardly surprisin...

 (28:36; 7D Media) On 16 th March 2020, Trey went into the studio with his 10-string Warr guitar. He set up the recording so he was using two channels, the first being direct and the second using a Rode microphone on a Phil Jones Double Four amplifier, and then set down to play. When talking about this and the related album, ‘Firma’, he says “These pieces will reward detailed and repeated listening. Likewise, they will punish casual listening.” He also states that this album is geared towards abstraction, and on that he is not kidding at all. This is a highly experimental release, using sounds and techniques only possible on his instrument of choice. It is jagged, sharp and to the point, literally. It takes in the listener, shakes them, and challenges their very idea of what is acceptable. He lets notes hang in the air but also delivers arpeggios and attacks which are brutal. Space is used as another instrument, sometimes in a friendly fashion and others where it is powerful and...

 (37:22; 7D Media) Recorded on 17 th March 2020, the day after ‘Punkt 1’, Gunn uses exactly the same recording techniques to record an album which is a companion to the one from the day before but with a very different outcome indeed. While the first one was about abstraction, Gunn says this one leads towards the ground, and being grounded is what this is about. There is far more melody contained with the music, far more expression and less in the way of jagged sharpness. The music is allowed to breathe and move around, with strings resonating against one other and creatin harmonies that swell in the air. That Gunn is a master musician has never been in doubt, and here his improvising brings together a real beauty as well. There is no rush with this album, it is all about laying back into the sound and allowing the music to take the listener on a far gentler yet no less interesting path than the day before. Again this is music which greatly benefits from being played on headph...