TUN-NER, Rendezvous Rodeo (7d Media). When Trey Gunn (Warr Guitazr), Markus Reuter (Touch Guitar U8), and Pat Mastelotto (acoustic and electronic percussion) get together, good things are bound to happe3n. Such is the case with this album, which also has the benefit of having been recorded live. The trio gives material from themselves, King Crimson, Stick Men, and Gunn’s solo releases a nice workout, showing off their chemistry and ability to navigate their way through some not-so-easy pieces, making them sound and feel relatively effortless. Gunn’s heavy bottom end and experimental moments make for good accompaniment to Reuter’s lead lines, while Mastelotto’s drumming and sample work provide the ideal rhythmic spice to the mix. The band manages to not only work through established pieces, but to create some interesting improvised moments as well. Fans will find precisely what they are looking for in this album, and there’s no way that’s a bad thing.

IAN FLARE, Warm (Ian Flare). A lightning-quick EP of Indie-oriented power punk that relies on grinding guitars and heavy rhythms to drive its point home, which it does with relative success. Within these songs are the foundation for something bigger. Meanwhile, this is a nice snapshot of what could be waiting over the horizon. The music rocks appropriately from start to finish at a relentless pace, making for music deigned for the modern attention pan. It’s a decent start.

MUSE, The Wow! Signal (Warner Records). Within these soongs lay the vibes of both Muse’s proggier moments a la Black Holes and Zrevelations and their poppier material which took over the band’s repertoire since that album’s release. The result makes for a pleasant album for fans old and new. Matthew Bellamy (vocals, guitar, and keyboards) soars with their usual grandeur, while Chris Wolstenholme (bass) and Dominic Howard (drms) provide the mighty rhythmic thunder, as per usual. There is a decent blend of heavyweight anthems and calmer “take my hand” moments that prevent alienating fans of either Muse approach.No new ground is being broken, but the trio continues to do what they do best. It’s doubtful anyone will complain about what pours forth.

GLEAVE, Between the Daylight and the Dark (Gleave). Singer/songwriter Joshua Gleave has assembled a solid collection of melodic nü-metal in the realm of Haken and Riverside. His songs are heavy both musically and lyrically, as he brings deeply personal feelings to the fore, matching the intensity of the djent-ish guitar riffs and heavyweight rhythms. Gleave has something to say. It’s in your best interest to listen.

JANE GETTER PREMONITION, Transmogrify (7D Media). A highly skilled guitarist with a lovely voice, Jane Getter puts both skills to good use in an album the straddles the line between pop sensibility and prog-alicious chops. Getter’s efforts are augmented by the likes of keyboardist Adam Holzman, who makes his presence well known throughout. Alex Skolnick (guitar) and Gene Lake (drums) are among a host of others who help bring this music to life. Getter has created a nice respite from the Saturday Night Live band, giving her a chance to occupy the spotlight for herself. She makes the most of it.

MOTSUS, Atlas (Polderrecords). Doomy, sludgy, heavy stomping metal defined more by its grooves than its melodies. Tom Maene (guitar) does bring forth the odd solo here and there, but this Belgian post-metal trio is equally defined by the bass of Wouter Verhelst and the drums of Wouter (aka Wout) Velle. The band uses a lighter acoustic sound to draw you in before dropping the anvil that is their sound on you. Fans of bands like Russian Circles will find a home here. Headbangers will reign supreme!

NULL FICTION, Metamorphic (Null Fiction). Strap in and grab hold of something. It’s about to get real heavy real fast. Null Fiction’s debut release is a fireball of progressive and speed metal, augmented with mathematical lead lines. The band’s sound leaves ear blisters right out of the gate. But this isn’t mere noise. The songs are an exercise in discipline, starting and stopping on a dime and insisting on perfect sync between guitars and bass. The drums, meanwhile, set a relentless tempo demanding the rest of the band catch up and keep up, lest everything fall apart. Animals as Leaders seems like a good comparison starting point, minus the tricky lead lines. One thing is certain: it won’t take long to warm up while grooving with this band.

THE PINEAPPLE THIEF, “Hold These Ashes” (InsideOutMusic). It seems like The Pineapple Thief has been in “Sonic Chill” mode for quite a while lately. This single is a little — a little — heavier, a nod to their more vintage sound. As always, Bruce Soord is on the money with his vocals, and his guitar sounds pretty sharp as well. Drummer Gavin Harrison is … well, Gavin Harrison. Tastefully busy and making it all fit without stealing the spotlight. This tune feels like a good harbinger of things to come.

COLONEL CLAYPOOL’S FEARLESS FLYING FROG BRIGADE, Return of the Live Frogs, Volume 1 (Prawn Song). There ain’t no jam like a Frog Brigade jam ‘cause a Frog Brigade jam’s got Les! When he’s not fronting Primus or sharing the lead with Sean Lennon in the Claypool/Lennon Delirium, Les Claypool keeps his music madness flowing via his Fearless Flying Frog Brigade, a jam band with a revolving door of members that’s been around in one form or another for two decades. The band released a two-volume live release during their earliest days. Now Claypool and company are at it again. Claypool has one of the unique bass tones, so it’s easy to hear where he’s leading and where he’s holding down the ever-consistent grooves. Longtime Frog vet Skerik (tenor saxophone) provides his usual unique tone colors and makes the most of every spotlight he gets. Lennon also crosses over from the other band, making meaningful vocal and guitar contributions. There’s plenty of bounce to the ounce in this set, which consists of just four extended-length tunes. But it’s more than enough to get fans salivating for Volume 2.

CHARLIE HUNTER, Space Bomb (SideHustle). Well into his fourth decade on the scene, the skills of Charlie Hunter continue to impress and mystify. Handling both guitar and bass duties, Hunter has created another collection of jazz-adjacent music containing reggae, fusion, and hip-hop elements. The music maintains a chill vibe throughout, with the occasional boost of raw (but still well-controlled) aggression. Hunter knows his wheelhouse. It has worked in the past and it continues to do so in the present. No need to change gears just yet.

YES, Roosevelt Stadium, Jersey City, 17 June 1976 (Live) (Atlantic). Yes had absolutely nothing to prove by the time they rolled into Jersey City, New Jersey, in June of 1976. They were already progressive rock legends. But this show kind of says otherwise. The band digs in from Note One and refuses to let up, ripping through their setlist with unbridled aggression. A message to the punk rockers that were on the rise during this period? Perhaps. One could play more than three chords and still express rage. The highlight might be “The Gates of Delirium,” where Jon Anderson’s vocals soar while Steve Howe (guitar), Patrick Moraz (keys), Chris Squire (bass), and Alan White attempt to turn the stage into a pile of rubble. Once a popular bootleg recording, the masses should be thrilled to add this to their collections.

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