If ever there was an album that deserved the classification “avant-garde,” this one would be it. Trey Gunn, former bassist and Warr guitarist for King Crimson, performs with various touch guitars on this album – and nothing else. A risky move in my opinion, but I believe Gunn pulls it off. Vocalist Dylan Nichole Bandy performs on the first and last tracks, but otherwise, this album is truly a solo effort. It is unlike any album I have listened to before: it has a haunting, ambient atmosphere, like some of Robert Fripp’s solo work, but with the unique touch of, well, touch guitars. The album comprises eleven tracks, four of which are live performances of a piece titled “Flood.” The first track, “Not Dark Yet,” is actually a Bob Dylan cover! It is a haunting piece, beautifully sung by Ms. Bandy. Tracks 2-10 are all gentle, eerie, ambient pieces, none of which are particularly memorable, although each is performed well. The final track, “The First Return,” features wordless vocals courtesy of Dylan Nichole Bandy. This is not an album that will get your adrenaline pumping, but it is a solid effort put forth by Gunn, a wizard with the touch guitar. Highly recommended for those who appreciate ambient music, or for those just looking for something different.

Sir Christopher Lee, the renowned British actor best known for playing Dracula in countless films, Francisco Scaramanga in the James Bond film The Man With the Golden Gun, and Saruman the White in The Lord of the Rings films, passed away Sunday, June 7, at 93 years old. Although many know him as an actor, we here at Progarchy also appreciate Lee for his musical talent. An imposing man who possessed an extraordinary voice, Lee proved an adept heavy metal singer late in his life, releasing a Christmas song as recently as December 2014. He was a great talent, and he will be sorely missed.

Marco Minnemann, a true Renaissance man in the field of music, will delight listeners with his excellent solo effort Celebration. Minnemann, who plays all the instruments, showcases his talents on bass guitar, keyboards, guitar, and, of course, drums. The album has a metal/hard rock edge to it, but for the most part it sounds as if Frank Zappa himself is playing along. And like a typical Zappa album, Celebration has its quirks and idiosyncrasies, but it is an expression of pure talent and a joy to listen to. From the funky opener Miami to the hard-rocking Better Place, Minneman’s newest effort is a gem.

There are eighteen songs on the album, but the majority are under four minutes in duration. The longest – Print Club – is just under eleven minutes in length, granting Minnemann an opportunity to demonstrate his skill on the keys. If you find yourself craving a Zappa-influenced album by a top-notch musician, then this album is certainly worth a listen. You can purchase it here.

After their departure from King Crimson following the conclusion of the band’s first North American tour in 1969, multi-instrumentalist whiz Ian McDonald and drummer extraordinaire Michael Giles briefly formed their own band, appropriately named McDonald and Giles. Their eponymous debut album, released in 1971, is a gem I recently discovered while searching for some live King Crimson videos on the web. The lesser known half of the four man monster that was King Crimson’s original lineup (the other two being Greg Lake and, of course, Robert Fripp), McDonald and Giles proved that they were no slouches themselves when it came to musical talent. Giles, of course, had already established himself as one of the finest drummers of his day for his frenetic yet polished performance on 21st Century Schizoid Man. McDonald was and still is a man of many talents: his instruments of choice include saxophone, flute, keyboards, guitar, bass, and percussion, among others. Oh, and both gentleman can also sing. As a matter of fact, Giles sang lead vocals for King Crimson’s precursor, Giles, Giles, and Fripp. The two play all the instruments on the album except for bass guitar, which is played by Michael’s younger brother Peter. Now onto the album itself.

McDonald and Giles’ first and only album sounds more like a Giles, Giles, and Fripp album than a King Crimson album. Although jazz influences certainly do permeate the music, McDonald and Giles opted for more optimistic and cheerful songs than the ones found on In the Court of the Crimson King. Here are brief descriptions of each song:

Suite C– a lengthy (over 11 minutes) and progressive opener with a jazzy vibe; Steve Winwood (of Traffic fame) guests on piano

Flight of the Ibis– a dreamy love song that sounds like it could have been on one of Pink Floyd’s earliest albums; also sounds like the gentle King Crimson ballad Cadence and Cascade

Is She Waiting?– a brief, gentle acoustic peace

Tomorrow’s People-The Children of Today– solid vocal performance from Giles, and even better drumming; catchy saxophone, too; best song on the album

Birdman– longest piece (over 22 minutes); eerie a capella opening; softer song with solid drum and percussion work

Unfortunately, but not surprisingly, the album did not sell particularly well, although it has gained popularity over the years as more King Crimson fans discover it.  McDonald and Giles split up after the album’s release, and each man went their separate ways. Michael Giles would stay out of the limelight for the most part, but he would co-found the 21st Century Schizoid Band in 2002. He has not performed live since 2009, however. Ian McDonald, on the other hand, went on to co-found one of the most popular bands of the 70s and 80s: Foreigner. He left the band in 1979, but has continued to appear as a session musician on a variety of albums.

If you enjoy the sound of King Crimson, but perhaps prefer more cheerful lyrics, then this is an album worth listening to. And if you are not so inclined to listen to King Crimson, this album is still worth a listen. The drumming of Giles is excellent as usual, and McDonald does a fine job on every instrument he plays. Featuring an array of styles from jazzy drum and sax interludes to soft, sweeping acoustic guitar, this album could appeal to many if they gave it a chance. It is a hidden gem waiting to be rediscovered.