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LET THE POWER FALL

Robert Fripp

Eclectic Prog


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Robert Fripp Let The Power Fall  album cover
2.54 | 30 ratings | 5 reviews | 13% 5 stars

Good, but non-essential


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Studio Album, released in 1981

Songs / Tracks Listing

1. 1984 (12:10)
2. 1985 (11:03)
3. 1986 (5:12)
4. 1987 (5:07)
5. 1988 (6:24)
6. 1989 (11:14)

Total Time: 51:30

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Robert Fripp / frippertronics

Releases information

CD: 1989 US Editions EG (Caroline) EEGCD 10 (Definitive Edition)

Thanks to ProgLucky for the addition
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ExposureExposure
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ROBERT FRIPP Let The Power Fall ratings distribution


2.54
(30 ratings)
Essential: a masterpiece of progressive rock music(13%)
13%
Excellent addition to any prog rock music collection(20%)
20%
Good, but non-essential (33%)
33%
Collectors/fans only (30%)
30%
Poor. Only for completionists (3%)
3%

ROBERT FRIPP Let The Power Fall reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by soundsweird
PROG REVIEWER
3 stars Similar in style to Fripp's collaborations with Brian Eno ("No Pussyfooting" and "Evening Star"), but without the synthesizers, this album features long slowly building tracks made up of looped guitar riffs. Done before the days of digital delay lines, Fripp used Eno's trick of using two reel-to-reel tape recorders in tandem, and then called it Frippertronics. So, each track starts with a note or two, then that plays back a few seconds later, while Fripp plays another note on top of it, and so on. Soon there's a "melody" of sorts, with layers of guitar built up into a wall of sound. Some tracks are quieter and somewhat "soothing", and some louder and a bit abrasive. King Crimson fans will recognize the various guitar sounds that Fripp employed at the time this was recorded (between "Red" and "Discipline"). Imagine a King Crimson song that consists of a slow, multi-tracked Fripp guitar solo. If that idea appeals to you, check this out.

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Send comments to soundsweird (BETA) | Report this review (#27116) | Review Permalink
Posted Tuesday, March 15, 2005

Review by Eetu Pellonpää
SPECIAL COLLABORATOR Honorary Collaborator
3 stars After few years past the Fripp & Eno collaborations and disbanding of King Crimson, Robert had worked out larger questions troubling him. If I remember correctly, I red him devoting to teachings based on George Gurdjieff's methods. Return to music business happened slowly, and in addition of being a background supporter for some artists, his solo works started appearing in 1979. This third solo album of his relies completely to frippertonic-minimalism, set on a scheme of humanity's "spiritual drive" on forthcoming years, these being presented as solitary tracks of guitar-looping aural tapestries. I personally felt his "small, mobile and intelligent unit" for music creation worked out better when united with Brian Eno's synthesizers and mutual collaboration. On the other hand, if one wishes to analyze Robert's playing, this might be a good record to listen, as his guitar's non-synthesized sound is easier to recognize here. Also the idea of his own way of performing without the band is however interesting, and these recordings document the transition of these ideas to actions. This record could possibly be seen ideological both in the way it is performed and also from content, as I fear the predicted / wished collective drive on 1980's maybe did not occur. My misunderstandings can be cleared by reading Robert's essays accompanying the album, sharing his views how world and people actually should run. If looking now forward, I believe the musical seed of this 1970's technique loop-system developed further on 1990's evolved to more cinematopic, denser and protean qualities with 1990's digital technologies. Also about prophecies and divine contemplations, "it is easy to be wise after the event" ? I believe all ponderings around vague concept of Truth all necessary, not because they would be right or wrong but part of humanity's vivid progress in the chaotic world. If this approach should not open, maybe one gin & frippertonic with lemon and ice might help.

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Send comments to Eetu Pellonpää (BETA) | Report this review (#27117) | Review Permalink
Posted Friday, April 01, 2005

Review by Evolver
SPECIAL COLLABORATOR Crossover & JazzRock/Fusion Teams
2 stars Let The Power Fail

This was the most disappointing Robert Fripp album to date.

On the previous release, "God Save The Queen/Under Heavy Manners", Fripp intoduced us to the soporific sound of "Frippertronics" as a complete art form. Where Fripp used this delay technique, using two tape recorders strung together with the single tape running across both heads, on "Exposure" as a wash effect behind some rather spectacular music, and as a brief intro Here Comes The Flood as an interesting production form, here, in it's raw form, it proves to be boring (sorry fot the run-on sentence).

You may choose to use this as background to meditation, and here you will find it's only truly useful application. The only other option is to play a game of figuring out which note Fripp adds on each loop. This game gets quite tedious after only a few short minutes, and could also end up with the listeners' brains melted and puddling at the bottom on the cranium.

Recommended only for fans of this genre.

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Send comments to Evolver (BETA) | Report this review (#442200) | Review Permalink
Posted Tuesday, May 03, 2011

Review by friso
PROG REVIEWER
2 stars Robert Fripp - Let the Power fall (1981)

Robert Fripp is known as founding member and brain behind major progressive rock group King Crimson. Besides that he is known for experimenting with the electric guitar and the equipment available. Perhaps this is the definitive record if you like Robert Fripp's frippertronics, but it has nothing else to offer then just that.

Frippertronics could be described as use for electronic equipment and electric guitar in order to create repetitive loops that allow for adding one note every loop. This results in endless loops of about six seconds with minor changes of single electric guitar notes that sound as if played by a cheap synthesizer. With this technique Robert Fripp managed to fill a record (without any other musicians or instruments). All compositions sounds the same and evolve in same way. This often results in sound-scape-like creations that don't have to much emotional depth, whilst offering some concentration and non-threatening atmospheres. There is no variety in approach and sound of the guitar on this album. Furthermore I assume all compositions are played in one take, where the addition of a 'normal' guitar line would not have hurt at all. Actually, this album just sounds like standing in a mad, but static scientist's laboratory without sounding psychedelic.

Conclusion. Unless you really want to know what frippertronics are I can recommend spending your money elsewhere. Later sound-scape albums of Robert Fripp are said to be way more interesting and this one just doesn't make too much sense. Two stars.

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Send comments to friso (BETA) | Report this review (#499556) | Review Permalink
Posted Monday, August 08, 2011

Latest members reviews

1 stars Let the Power Fall seems to be based on the novel 1984 of by George Orwell; a story about facism and power. The songs are titled 1984, 1985, etc... Robert Fripp shows his skills on the so-named Frippertronics. While these tunes are made by a guitar with taperecorders they sound synthesizer-like, c ... (read more)

Report this review (#489671) | Posted by the philosopher | Sunday, July 24, 2011 | Review Permanlink

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