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FRIPP AND ENO

Progressive Electronic • United Kingdom


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FRIPP AND ENO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FRIPP AND ENO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.46 | 84 ratings
(No Pussyfooting)
1973
3.50 | 59 ratings
Evening Star
1975
3.85 | 40 ratings
The Equatorial Stars
2005

FRIPP AND ENO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 6 ratings
The Cotswold Gnomes (aka Beyond Even (1992 - 2006))
2006

FRIPP AND ENO Videos (DVD, Blu-ray, VHS etc)

FRIPP AND ENO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.75 | 4 ratings
(No Pussyfooting) / Evening Star
1975
2.43 | 10 ratings
The Essential Fripp & Eno
1994

FRIPP AND ENO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

FRIPP AND ENO Reviews


Showing last 10 reviews only
 (No Pussyfooting) by FRIPP AND ENO album cover Studio Album, 1973
3.46 | 84 ratings

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(No Pussyfooting)
Fripp And Eno Progressive Electronic

Review by admireArt

5 stars For starters, it will be quiet hard to fit this work as such, even with the early 60's late 70's electronic music..... Prog and not. It stands closer to the "un-musical" aesthetics, of early electronic music, which dates back to 1925, with Luigi Russolo's "ALL" electronic compositions, which were never intended or needed, to be "tagged" as such. The obviuos "comparisson" between this kind of FRIPP & ENO "language", and the traditional "Prog" one, is undeserving, due to its inherent "non-musical" approach to these avant/garde structures, there are 2,.... or "noise-like", if it helps.

So, to even things out, this is as close as the late, purely electronic music of musicians, like Xenakis or Stockhausen, comes to Prog. Obviously this kind of work fits perfectly under the Progressive/Electronic sub-genre, more than anything else, considering its participants.

Brian Eno has a field day in this kind of non-musical experiments, he was already trying to break out, of all common places in the construction of his music, his "tools" (tapes, synths, recorders, tapes, studio facilities, gadgets, etc, etc...), were in fact already more than tried and tested (remember since 1925). He had at the time (1973) left, to call it somehow, Roxy Music's planet, and was already embarking in his "solo" discography.

On the other hand, Robert Fripp, had to carry with the weight of "exiling" his instrument of choice, the electric guitar, with its perfectly tuned strings to the Central-European, canons of structures, to the unruly world of Droning-Noise.

This was a great first step for the electric guitar kingdom and the court of guitarists that follows. He succeeded, without doubts, and his guitar playing, changed for good and for long. (Yes, there are "solos" and "riffs", but on the un-musical side of noise.)

It is quiet unwise to approach this "No Pussyfooting" effort as a musical effort, just because it is recorded. These are 2 long -timed "Drone-like" compositions, (around 20 minutes each), which are "raw", electronic, non-musical structures, which are constructed in the pure electronic spirit of the early pioneers, but transfixed for the Avant Garde audiophiles of now, by two of the most prolific composers and founders of not only this sub-genre, but of Prog.

WARNING----"To expect "music" is missing the whole trip." *****5 PA stars!

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 (No Pussyfooting) by FRIPP AND ENO album cover Studio Album, 1973
3.46 | 84 ratings

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(No Pussyfooting)
Fripp And Eno Progressive Electronic

Review by VOTOMS

3 stars Drone music is a minimalist musical style that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics - Wikipedia about Drone Music. Well, I think No Pussyfooting is the definitive drone.

Robert Fripp and Brian Eno working together at the weirdo ambiental "(No Pussyfooting)". Good. This is something totally experimental, with some creative passages. Two tracks. Sorry, but it would be better. While I really love Swatiska Girls, The Heavenly Music Corporation annoys me sometimes. The whole album is a brainwashing mantra, repetitive. It's good to listen to while you're reading.

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 The Equatorial Stars by FRIPP AND ENO album cover Studio Album, 2005
3.85 | 40 ratings

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The Equatorial Stars
Fripp And Eno Progressive Electronic

Review by admireArt

5 stars After years of occasionally playing and recording; these un-matched duo of composers; have more to deliver than contrast of structures and instruments. Time and experience settled these two rivers into a single ocean; or galaxy more in accordance with the recurrent picture.

After an incredible "Evening Star"; which could flow between "krautrock", "electronic", "eclectic", "ambient" and "indusrial-ambient"; "The Equatorial Stars" as they establish in the name; is going to be an un-earthly collaboration; the third between the 2, at that time.

Years of playing occasionally together have blended the route of their approaches. The result in this project is closer to Enos´s keyboard "ambient" language and Fripps´s electric guitar "soundscape" environments, coexisting together in the same gravity and space, breathing the same air. Therefore the feeling in general is "electronic-etherea"l, leaning towards "ambiental", but without its low-keyed "limits" and without any kind of preconceived attachments, being that both languages have very solid structures and identities by themselves.

And even better than that; we are offered focused compositions; even thoug, both languages merge as whispers of two different voices, the direction both take has more control and direction, so the approaches are counter-balanced by song-composition and its "restraints". Two worlds collide for a very "friendly" third clash.

*****5, "The best of two worlds redifined and refined by experience and way ahead vision" PA Stars

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 (No Pussyfooting) by FRIPP AND ENO album cover Studio Album, 1973
3.46 | 84 ratings

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(No Pussyfooting)
Fripp And Eno Progressive Electronic

Review by thellama73
Collaborator Eclectic Prog Team

4 stars Robert Fripp and Brian Eno were two of the most interesting and innovative musical personalities of the 1970s, but it would also be hard to imagine two more divergent temperaments. Eno was a flashy, kinetic wild man who, during his tenure with Roxy Music managed to steal the show from one of the most dynamic frontmen ever, despite not really playing any instruments. Fripp was a cool intellectual who sat on stool on stage while playing his guitar and was notoriously standoffish to fans. The public may not have known what to expect when they decided to team up, but anyone could bet the result would be magical.

The driving force behind the album is a tape loop system developed by Eno which was capable of simultaneous playback and recording. This allowed a performer to hear a loop of his himself while continuing to play on top of it, adding new layers and rhythms in real time. This was not entirely a new idea-Terry Riley had been doing similar things for years-but Eno dubbed the process "Frippertronics" and the name stuck.

The record consists of two side-long tracks, each containing a subtly pulsing backdrop over which Fripp solos extensively. On "The Heavenly Music Corporation," the mood is serene and Fripp's guitar sweeps slowly around with his characteristic warm tones climbing and plunging like dive bombers in slow motion. The effect is lovely and captivating.

Side two, entitled "Swastika Girls," is more active, with heavier focus on Eno's electronics making up the rapidly swirling backdrop. There is a lot more going on here than o the first side, and it takes several listens to take it all in. One of the dangers of this type of recording technique is the tendency for things to become overly cluttered and aurally confusing. I'm not sure whether that quite happens here, but it certainly walks a fine line.

Fans of either Eno's solo work or Fripp's guitar playing (mainly in his capacity as a guest soloist for the likes of David Bowie; there's little resemblance to King Crimson) will find much to love here. The latest reissue is a 2-CD set of good quality and a couple of puzzling choices. First, they broke the side long tracks up into separate parts for the CD indexing, which is totally unnecessary and arbitrary to my way of thinking. Second, the bonus tracks consist of the entire record played backwards and a half speed version of "The Heavenly Music Corporation." The reasons for this remain obscure, but I am forced to admit that the different versions are interesting and enjoyable, if not essential.

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 The Equatorial Stars by FRIPP AND ENO album cover Studio Album, 2005
3.85 | 40 ratings

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The Equatorial Stars
Fripp And Eno Progressive Electronic

Review by Eetu Pellonpää
Special Collaborator Honorary Collaborator

4 stars After several decades pause, the collaboration of Robert Fripp and Brian Eno had evolved from their rawer 1970's sounds towards more soothing and quieter directions of ambient realms. The inspiration for this elevating disc of aural tranquility was drawn again from the stars. The reference to term "equatorial" was left slightly unclear to me; possibilities would be either an observing perspective from locations of Earth's equatorial latitude, allowing visibility for both northern and southern hemispheres heavenly views, or maybe referring to the astronomer's celestial equatorial concept used as for a star homing tool. Whatever the case was, both are earthbound observing methods, not related to actual positions of stars, which only due our own vantage point seem to reside as constellations. The open and soothing record can also be listened easy without any thematic orientation, though it suits well for either mystical astrologic contemplations or slumbering in scientific astronomic cosmic dreams. My own on-professional astral navigator's notes are stated as follows;

The delicate ringing of ethereal bells creates a pleasant experience of vast space for the beginning of the journey. The first cosmic entity adored is gigantic star "Meissa" (The Shining One), radiating its blue glow from the constellation of Orion. Robert's dark-toned effected guitar solo licks reach solemnly for the heavenly light, harmonizing wonderfully with the radiant background vibrations of cloister observatory's audio research chamber. Later the guitar sound morphs to mesmerizing echoed shadows, merging to the disappearing background tonal tapestry. The perception shifts to "Lyra"'s constellation, dominated by Vega, one of the most brightly shining stars on the skies. Synthesizers evoke a melodic triangle creating a feeling of anticipation, clear guitar slides mystifying on the harmonic probabilities with fantastic sense of style. Like from man's perspective of time, the solid stagnation of the sounds appears as firm as the stars themselves on the nocturnal roof of the earth. According the Greek tale of Orfeus, his lyra was sent by Zeus to the skies on the wings of an Eagle, which could give a signal to turn the telescopes to the constellation of Aquila. There one can witness a young giant star "Tarazed". Here hollow wind-like humming pairs with Robert's guitar prayers, this fusion scribing yet another wonderful page to this celestial book of hours. The long waves of cosmic sounds move quietly towards more electronic modern sound palettes in the final moments of this song.

To this point, the album has musically been completely awesome meditative resource for me, but the following visitation to the "Lupus", the constellation of the Wolf, introduces some programmed rhythm loops, which I did not find most optimal for meditative music listening. This predatory animal, lurking in shades of mighty constellation of Centaurus in the southern hemisphere's sky, has also some more turbulent radiophonic elements familiar from Robert's 1990's solo recordings.

The next place of observation, "Ankaa," is the traditional name for constellation of Phoenix, the mythical fire bird eternally being reborn from its own ashes. The visualization for this sun is created from semi-harmonious synth abstractions, cinematopic sound constructions and subtle guitar visitations, continuing the core quality line of this record for me.

The visions are again drawn to the constellation of Aquila, positioning for the light of "Altair", one of the closest and brightest star visible for us. This rapidly rotating sun has been studied by the cosmologists, and it has been noted being flattened from its poles due gravitational forces of its spinning. For this fact, the presence of rhythm loops and funky guitar riffs are justified, and create more dynamic tension for the movement. However for the complete listening experience I tend to skip this track along with the earlier mentioned fourth song.

The last glance goes to a group of stars on the constellation of Sagittarius, "Terebellum", reaching a wonderful climax to the formless cosmic presence available on this album. So for me the only negative aspect of this record were the few programmed rhythms, which in my opinion disturbed the sacred serenity sensed from the other tracks, luckily occupying the majority of the album's running time. These great solemn moments make this as a really pleasant album, certainly worth recommending for those searching elevating groves of modern ambient music calmness.

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 The Equatorial Stars by FRIPP AND ENO album cover Studio Album, 2005
3.85 | 40 ratings

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The Equatorial Stars
Fripp And Eno Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Fripp and Eno are at their best when they turn their attentions to astronomy. Just as Evening Star was the superior of their two albums from the 1970s, so too is The Equatorial Stars a great little bit of ambient bliss three decades after their last major release. Steering a careful course between taking advantage of updated technology on the one hand and staying true to the project's parameters on the other, the duo once again create a varied and fascinating album which may no longer blaze a trail into uncharted regions of ambient as their first two albums did, but is no less compelling despite that.

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 Evening Star by FRIPP AND ENO album cover Studio Album, 1975
3.50 | 59 ratings

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Evening Star
Fripp And Eno Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars A more diverse and mature album than No Pussyfooting, at least partially because both Fripp and Eno had had a chance to have a think about what this whole "ambient" thing they've cooked up is and what they might do with it, Evening Star consists of a side of shorter tracks based on a variety of approaches (and featuring some absolutely gorgeous guitar solos from Fripp) and a side-long epic in the form of An Index of Metals, which is a Frippertronic piece which essentially restates the premises of No Pussyfooting but does so in a more engaging and interesting fashion. In this particular case, experience really does show - No Pussyfooting might have shown promise, but it was Evening Star that fulfilled it.

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 (No Pussyfooting) by FRIPP AND ENO album cover Studio Album, 1973
3.46 | 84 ratings

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(No Pussyfooting)
Fripp And Eno Progressive Electronic

Review by Warthur
Prog Reviewer

3 stars As innovative and important as it is to the development of the ambient genre, and even though it's a good album, at the end of the day No Pussyfooting doesn't quite manage to transcend its origins as two guys messing about with musical instruments and electronics at home and putting the results on vinyl. Eno's tape system and Robert Fripp's guitar playing combine to create a forerunner of Frippertronics, but there's no getting around the fact that this aimless noodling is, well, nothing more than aimless noodling. Superior drone-ambient outings had already emerged from the Krautrock scene in the form of Tangerine Dreams' Zeit and Klaus Schulze's Irrlicht and Cyborg, and whilst the album would prove to be an important turning point in the career of both participants, all that proves is that unexpected consequences can come out of the most humble places. Three stars.

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 (No Pussyfooting) by FRIPP AND ENO album cover Studio Album, 1973
3.46 | 84 ratings

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(No Pussyfooting)
Fripp And Eno Progressive Electronic

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars This album proved to be the more interesting of the two Fripp and Eno 1970s releases. While this one shows some of the ambient music tendencies both musicians were heading toward, Fripp saves the recording with some nice, but not spectacular guitar playing on both of the pieces.

The two tracks both have Eno playing sounds through the dual tape recorder delay process that Fripp later appropriated and dubbed "Frippertronics". Frips adds guitar solos, with lots of long sustained notes, keeping the whole affair from becoming a dreadful bore. This album is only essential if you are a collector of Fripp's guitar solos.

The cover is almost the best part of the album, depicting Fripp & Eno lounging in a mirrored room. Eno is playing with a naughty deck of cards. And is that an illicit substance in powdered lines on that picture frame in front of Fripp? He always seemed like too much of a control freak for that kind of foolishness.

Low three stars.

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 Evening Star by FRIPP AND ENO album cover Studio Album, 1975
3.50 | 59 ratings

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Evening Star
Fripp And Eno Progressive Electronic

Review by colorofmoney91
Prog Reviewer

3 stars Evening Star take the same idea of the debut collaboration between Robert Fripp and Brian Eno, but ultimately comes off as a bit boring, in my opinion. The soundscapes on this album are roughly the same, if not a little more on the ambient side of things, and Fripp's wonderful guitar only makes a difference in sound on the last (and best) track of the album, "An Index of Metals", which is nearly 30 minutes of droning buzzscape with very alien and experimental sounding electrically manipulated guitar phrasing that adds a certain enigmatic texture to the track. Unfortunately, the rest of the tracks are nothing more than soothing ambient drones that sound full, but are not particularly interesting.

Though this isn't as experimental or overall interesting as No Pussyfooting, this album is still a beautiful listen. But, if you liked Music for Airports, then this will most likely be very enjoyable.

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