Rock, Metal

Robert Fripp - At The End Of Time - Churchscapes (Live In England & Estonia) [2007]

2014-04-22T15:49:20Z

Robert Fripp - At The End Of Time - Churchscapes (Live In England & Estonia) [2007]


1.Threshold Bells: St. Paul's 
2.At The End Of Time: St. Paul's 
3.Evensong: Tallinn 
4.Evensong Coda: Tallinn 
5.At The End Of Time: Broad Chalke 
6.Evensong: Viljandi 
7.Evensong Coda: Viljandi 
8.Future Shift: Haapsalu 
9.Evensong: Haapsalu 
10.Evensong Coda: Haapsalu

Robert Fripp - guitar, soundscapes.

There are so many facets to Robert Fripp's myriad of talents that it is practically an inaccuracy to label him simply as a guitarist. While his name may be forever linked to that of King Crimson, outside of the band's auspices Fripp remained one of the most exceedingly active (not to mention criminally and summarily underrated) musicians to have emerged from the late-'60s rock & roll scene. One of Fripp's consistently adventurous solo musical statements has been via the artist's instrumental Soundscapes. On this release, he has committed those spirit-connecting sounds and concepts to the next logical level by offering them in a variety of sacred spaces (read: churches and cathedrals) to eager and willing ears -- à la Churchscapes. The origins of Fripp's use of what he calls "looping technology" can be traced back to August of 1972 and his initial collaborations with Brian Eno and then David Sylvian some two decades later. The ten respective cuts -- which are spread over an hour and 15 minutes -- are excerpts from five different performances throughout England and Estonia. The opening sequence is lifted from St. Paul's Cathedral in London (June 13, 2006) with tone probes that confide in the listener by maneuvering them through several distinct motifs that build from a bell-like resonance into a richly hued tapestry. The following "Evensong" and accompanying coda reflect the sense of subtle awe that was undoubtedly inspired by the Pühavaimu Kirik in Tallinn, Estonia (August 22, 2006). A gentle, organic tune rises out of the multi-textured sonic stratum. The second (of two) interpretation of the project's title composition "At the End of the World" is the earliest work on the album, having been documented several months prior (January 14, 2006) to the spring of 2006 English and Summer of 2006 Estonian sojourns. As the unofficial centerpiece it embodies an accurate representation of a real-time Soundscapes/Churchscapes experience. The final trilogy hail from the Lossikirik in Haapsalu, Estonia (August 24, 2006) and almost immediately one can sense an increasingly conspicuous reverence in Fripp's tone and melodic structure. "Evensong Coda" -- from the same venue -- concludes the disc with the revelation and exploration of an exquisite benediction. ---Lindsay Planer, allmusic.com

Jak wskazuje tytuł, na albumie usłyszeć można "Soundscapes" wykonywane w kościołach i katedrach. Zamieszczone na albumie utwory zarejestrowano podczas serii występów w kościołach i katedrach Anglii i Estonii w 2006 r. --- muzyka.onet.pl

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Robert Fripp - Soundscapes: Glass And Breath (2007)

2014-04-17T15:50:47Z

Robert Fripp - Soundscapes: Glass And Breath (2007)


1.  	Glass And Breath I	   20.06
2.  	Glass And Breath II	   20.18
3.  	Glass And Breath III	   19.45

Robert Fripp - guitar

Talk about a generous gift from a master musician to his fans, Robert Fripp’s latest Soundscape release "Glass and Breath" comes just days after it was recorded. In addition, he’s giving it away at no charge whatsoever.

"Glass and Breath" is a three-part hour-long studio improvisation that is slightly different from Fripp’s usual Soundscape work. Unlike his trademark orchestrations that are the norm for Soundscapes, "Glass and Breath" primarily focuses on chiming bell sounds that repeat at random. There is also a slightly eerie and misty chordal background that is heard throughout the three parts as well. If one uses their imagination, it isn’t difficult to picture yourself walking in the open spaces listening to church bells tolling in the distance.

This music can best be summed up as ’ambient minimalism stripped down to its barest elements’. There is very little change or progression in this hours worth of music. Despite this, it still comes off as being extremely beautiful and powerful. I will have to agree with the comparisons to Brian Eno’s "Neroli". Both "Neroli" and "Glass and Breath" feature the same principle but take it in slightly different directions.

Once again, Robert Fripp succeeds in bringing us another fine Soundscape. As stated above, this is a wonderful gift from a master musician to his fans. Granted, some may find this to be very boring but as I’ve stated in other reviews - Boring can be beautiful too. --- LouieB, robertfripp.com

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Robert Fripp – Pie Jesu (1997)

2014-04-30T15:52:04Z

Robert Fripp – Pie Jesu (1997)


1	Pie Jesu			
2	Midnight Blue	
3	Abandoment to Divine Providence			
4	Sometimes God Hides			

Robert Fripp - guitar

Robert Fripp's beautiful but brief compilation, Pie Jesu, features material from A Blessing of Tears and The Gates of Paradise; the CD acts as an appealing, accessible introduction to his contemporary Frippertronics, which Fripp appropriately terms "Soundscapes." The music, created entirely from guitar and effects, including loops, delay, and repetition, is easy to consume and digest -- a very comfortable, tranquil, flowing sound, somewhat different from his '70s Frippertronics excursions. While some critics have inappropriately termed/described his Soundscapes series as new age music, it is far from it. Fripp has been experimenting with these sounds through a variety of structures and presentations for more than 25 years. By labeling his music new age, critics are not only unjustly describing his music, but also doing a disservice to potential audiences, leading the uninitiated to a view worlds away from Fripp's textural intentions. New age music has never employed or incorporated the devices, colors and tones that Fripp has created for his unique sound. His "Soundscapes" term is musically apropos; through this music, Fripp creates sonic landscapes -- very textured, layered, multi-hued sounds, much more akin to Brian Eno's environmental/ambient projects than anything in the new age vein. Clearly, a more personal, passionate Fripp shines through in his '90s solo efforts. Fripp has always been viewed as a very intense and spiritual character, and his Soundscapes expressions seem to exhibit music that originates quite close to the heart. --- David Ross Smith, allmusic.com

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