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Trey Gunn - One Thousand Years CD (album) cover

ONE THOUSAND YEARS

Trey Gunn

 

Eclectic Prog

3.52 | 17 ratings

From Progarchives.com, the ultimate progressive rock music website

convocation
4 stars One Thousand Years is a beautiful work; a really fine first solo album. More than that, it is a must-have for progressive, eclectic music enthusiasts; however, there are many other sub-genre fans that would enjoy this, too. One Thousand Years is a rich rhythmic fabric that at first blush may seem repetitive to casual listeners. Nothing could be farther from the truth. One Thousand Years is seamless in its organization and mood, and should be viewed as a single work rather than a collection of separate musical projects. Just the fact that pauses between tracks are very brief or non-existent is essential; each piece leads into the next in a natural way. The length of each track is just right; they are quite succinct and very attractive. One Thousand Years is primarily about rhythms and exhibits a subtle influence by often unarticulated female voices. The vocals are restrained, almost muted and this brings a real positive tension to the music; especially when Gunn breaks into a stick solo. His effects setup gives his instrument real sustain that can confuse even a trained ear, but leaves the listener with a definite sense of satisfaction. The production is very professional.

"The Night Air" has a hypnotic and raw rhythmical introduction. The female vocals, sometimes overtone chanting and harmonic singing, are a perfect complement to the percussion and stick; together they have a transporting quality about them. The lyrics are sung by Gunn and, presumably, Serpentine, creating a pleasing blend. There's a brief pause, then "The Screen Door And The Flower Girl" might seem to erupt out of the Night Air. Gunn is superb in his stick solos and his vocal touch is very mellow. Bob Muller's performance is very tight. "Killing For London" is really impressive. Pat Mastelotto's work on the drums and the Gunn's stick leap out at you. The whole thing is primitive and very infectious; it has a real primal sense about it that contrasts well with the male and female voices chanting along at various times. "Real Life" begins with ghost-like electronically treated female breathing sounds. Then a ratcheting sound bursts in on this eerie environment. The percussion almost sounds like Australian aboriginal stick drumming. Gunn adds a driving base guitar line that brings the whole piece together; his stick playing simply soars above this lovely racket. Then, with little warning, we are brought "Into The Wood". A plucked steel string cycle pervades. There's a punctuated vocal chanting and virtuoso stick solo that seems to take turns leading the composition forward. "The Gift" is a magical and mournful composition led entirely by multiple layers generated by Gunn's stick, controlled with a volume pedal, and echo effects. "Take This Wish" takes over with an ever so slightly aggressive theme. The tabla is made-to-fit in this track, punctuating the atmosphere. The male vocals are gloomy and soft, sometimes whispered. Xan joins Gunn in the chorus to ".take this wish away." Before you realize it, "1000 Years" is on you. Layer upon layer of Gunn's favorite string instrument and voice waft to and fro, leaving you with an impression of motion, like being on a calm sea listening to the rhythm of the waves.

convocation | 4/5 |

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