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ROBERT FRIPP

Eclectic Prog • United Kingdom


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Robert Fripp biography
FRIPP is best known as a founder and continuing member of KING CRIMSON, from the debut album "In The Court Of The Crimson King" in 1969, through "Larks' Tongues In Aspic" (1972), "Red" (1974), "Discipline" (1981), "VROOOM" (1994), "THRAK" (1995), "THRaKaTTaK" (1996), and the H.O.R.D.E. tour of 1996. Well known collaborations and contributions include FRIPP & ENO's "No Pussyfooting" (1973) and "Evening Star" (1975), ENO's "Nerve Net" (1993), the first three Peter GABRIEL albums, David BOWIE's "Heroes" (1977) and "Scary Monsters" (1980), Daryl HALL's "Sacred Songs" (1979), and The Roches (1979 & 1982). FRIPP left the music industry between 1984 and 1991 to establish the Guitar Craft seminar program, which continues around the world.

Robert Fripp official website

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  • Midnight Blue A Blessing of Tears 1995 Soundscape-Vol 2 - Live in California, 1995

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ExposureExposure
Discipline Us 2006
Audio CD$10.31
$15.35 (used)
Love Cannot BearLove Cannot Bear
Discipline Us 2005
Audio CD$7.19
$7.18 (used)
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WALTER STEDING Get Ready with Robert Fripp PS USD $8.99 Buy It Now 1h 39m
Robert Fripp Let the Power fall LP NM- EGED10 1981 USD $19.99 Buy It Now 1h 55m
Exposure + Postcard Robert Fripp vinyl LP album record UK EGLP101 EG 1979 USD $74.85 Buy It Now 2h 25m
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ROBERT FRIPP [CD] A BLESSING OF TEARS, 1995 SOUNDSCAPES - Live In California USD $57.26 Buy It Now 15h 36m
ROBERT FRIPP [CD] AT THE END OF TIME, CHURCHSCAPES, Live England, Estonia 2006 USD $15.24 Buy It Now 15h 49m
ROBERT FRIPP [CD] RADIOPHONICS, 1995 Soundscapes Volume 1, Live in Argentina USD $15.24 Buy It Now 15h 53m
ROBERT FRIPP [CD] FRIPP & ENO, EVENING STAR USD $15.24 Buy It Now 16h
ROBERT FRIPP [CD] ROBERT FRIPP STRING QUARTET, THE BRIDGE BETWEEN USD $15.24 Buy It Now 16h 9m
ROBERT FRIPP [CD] FRIPP & ENO, NO PUSSYFOOTING USD $15.24 Buy It Now 16h 14m
ROBERT FRIPP [CD] ROBERT FRIPP 1999, SOUNDSCAPES, LIVE IN ARGENTINA USD $22.88 Buy It Now 16h 36m
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The First Day by David Sylvian/Robert Fripp (CD, Jul-1993, Virgin) USD $29.99 Buy It Now 2 days
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CD love cannot bear / soundscapes live in the usa
ROBERT FRIPP
~ USD $9.86


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ROBERT FRIPP shows & tickets


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ROBERT FRIPP discography


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

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

3.72 | 148 ratings
Exposure
1979
3.20 | 34 ratings
God Save the Queen / Under Heavy Manners
1980
2.54 | 37 ratings
Let The Power Fall
1981
2.69 | 31 ratings
The League of Gentlemen
1981
3.32 | 44 ratings
I Advance Masked (with Andy Summers)
1982
2.72 | 26 ratings
Bewitched (with Andy Summers)
1984
3.10 | 26 ratings
Robert Fripp / The League Of Gentlemen - God Save The King
1985
2.29 | 12 ratings
Toyah And Fripp - The Lady Or The Tiger?
1986
3.95 | 37 ratings
Robert Fripp & The League of Crafty Guitarists - Show of Hands
1991
3.57 | 25 ratings
Sunday All Over The World - Kneeling At The Shrine
1991
3.90 | 30 ratings
The Robert Fripp String Quintet
1993
3.72 | 25 ratings
That Which Passes: 1995 Soundscapes, Vol. 3
1996
3.87 | 38 ratings
The Gates Of Paradise
1997
3.51 | 19 ratings
The Repercussions of Angelic Behavior (with Trey Gunn and Bill Rieflin)
1999
3.86 | 14 ratings
A Temple In The Clouds
2000
2.57 | 16 ratings
Thread (with Theo Travis)
2008
4.17 | 22 ratings
Follow (With Travis)
2012
4.22 | 9 ratings
Robert Fripp | Andrew Keeling | David Singleton - The Wine Of Silence
2012
3.50 | 6 ratings
Discretion (With Travis)
2012

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

2.65 | 13 ratings
Robert Fripp & The League of Crafty Guitarists - Live!
1986
4.50 | 5 ratings
Robert Fripp & The League Of Crafty Guitarists - Live II
1991
4.00 | 11 ratings
Kan-non Power
1992
3.48 | 14 ratings
1999 Soundscapes - Live in Argentina
1994
3.83 | 12 ratings
Robert Fripp & The League of Crafty Guitarists - Intergalactic Boogie Express
1995
4.34 | 21 ratings
A Blessing of Tears 1995 Soundscape-Vol 2 - Live in California
1995
3.38 | 8 ratings
The League of Gentlemen - Thrang Thrang Gozinbulx Official Bootleg: Live in 1980
1996
4.24 | 14 ratings
Radiophonics 1995: Soundscapes Volume 1 - Live In Argentina
1996
4.05 | 12 ratings
November Suite Live at Green Park Station
1997
3.97 | 18 ratings
Love Cannot Bear
2005
4.49 | 15 ratings
At The End Of Time
2007
3.38 | 8 ratings
Live at Coventry Cathedral (with Travis)
2010
4.86 | 2 ratings
Keneally
2015

ROBERT FRIPP Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
The Robert Fripp String Quintet - Live In Japan
1994

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

0.00 | 0 ratings
1995 Soundscapes Live
1996

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

0.00 | 0 ratings
Four From Exposure
1979
0.00 | 0 ratings
Silent Night
1979
0.00 | 0 ratings
North Star
1979
0.00 | 0 ratings
Under Heavy Manners
1980
5.00 | 1 ratings
Heptaparaparshinokh
1980
0.00 | 0 ratings
Dislocated
1981
0.00 | 0 ratings
The League Of Gentlemen (Sampler)
1981
0.00 | 0 ratings
I Advance Masked (with Andy Summers)
1982
2.00 | 1 ratings
Parade (with Andy Summers)
1984
2.30 | 8 ratings
Network
1985
3.45 | 10 ratings
Pie Jesu
1997
0.00 | 0 ratings
Soundscapes - World Financial Centre, New York, New York November 30, 2000
2005
4.00 | 1 ratings
Soundscapes - Junction, Cambridge, UK December 2005.
2005
0.00 | 0 ratings
Soundscapes - Blueberry Hill, St. Louis, MO, USA March 04, 2006
2006
0.00 | 0 ratings
Soundscapes - Variety Playhouse, Atlanta, GA, USA February 25, 2006
2006
0.00 | 0 ratings
Soundscapes - St. Peters Church, Newlyn, Cornwall, UK, December 03, 2005
2006
4.00 | 1 ratings
Inroads, New York, NY, USA August 06, 1981
2009
3.52 | 4 ratings
Disengage
2009
4.00 | 1 ratings
Soundscapes-Diamond Hall, Nagoya, Aichi, Japan November 27, 2006
2009
4.00 | 2 ratings
Wintergarden, Carlsberg Glyptotek, Copenhagen, Denmark May 18, 1979
2011
4.00 | 1 ratings
Theatre Le Palace, Paris, France May 27, 1979
2012
5.00 | 1 ratings
Le Trompe l'Oiel Paris, France 1979
2012
4.00 | 1 ratings
Gaston Hall Washington, DC, USA-1983
2013

ROBERT FRIPP Reviews


Showing last 10 reviews only
 God Save the Queen / Under Heavy Manners by FRIPP, ROBERT album cover Studio Album, 1980
3.20 | 34 ratings

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God Save the Queen / Under Heavy Manners
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

4 stars Inspired by Brian Eno during his work with him, Robert Fripp created a similar method of tape looping sound except he did it with guitar instead of electronics. He threaded reel to reel tape from the feeding real through the player of one unit through the player of a 2nd unit so that the tape would be taken up on the receiving reel on the 2nd unit. He would create a sound that he would layer more sounds over and do this continually so that he would become sort of like a one man band, or at least sound like he was creating more sound than what a single person would normally be able to create at one time. Thus Frippertronics was born. There were several versions of this Frippertronics method and two of them are featured on this double E.P. which was released as 1 LP.

"God Save the Queen" is the first part of this album and consists of 3 tracks. Each one is a study in minimalism, a layering of guitars improvised through the 2 reel to reel units. They are mostly sparse performances with a separate melody sometimes appearing among the guitar layers. This is Pure Frippertonics with nothing but Fripp's guitar and no other processed sound except for the tape units. The music is something like the ebb and flow of the waves and very relaxing. It is hard to understand on the first few listens, but really grows on you after a while. This style of guitar work would be used in a lot of recordings as part of the band, usually produced musically by Fripp as a guest performer and it always gave the music a much fuller sound with the payoff of fewer musicians.

The other half of the recording gives you 2 tracks that illustrates better how Frippertronics sounds with other instruments added in. This is the "Under Heavy Manners" part of the album. This style is what Fripp called Discotronics, the same recording process, but this time with an established rhythm (drums and whatnot) and bass with a few other surprises added in. This definitely gives a full sound to a smaller band. On the title track of this portion of the album, David Byrne sings what sounds like improvised words and melody and this sounds very much like the era it came from. The 2nd track on is over 12 minutes and further explores the full band sound this time without vocals. What's nice about this track is after about the half-way point, the other instruments end while the soundscape created by Fripp's guitar work is left to finish out the track, back to the bare bones of the first part of the album.

Overall, this is not an album for the masses, but it is proof of Fripp's genius and shows his inventiveness in attempting to move the guitar sound into the 80's. The interesting thing here is that bands are still using his techniques and styles today, however, with more updated equipment which produces more interesting sounds. But the technique is still there, the idea is still utilized and with this album, which, even though it isn't exactly a masterpiece, should be something that gets a lot more credit as far as the progression of modern music. No it's not for everyone, but any student of music should be exposed to it and credit is due to Fripp for his experimentation and innovation which has created a lot of the sound that we hear today in music, whether it's pop music or the most innovative progressive music. Not everyone will enjoy both halves of this album, but it still needs to be appreciated. 4 stars.

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 Keneally by FRIPP, ROBERT album cover Live, 2015
4.86 | 2 ratings

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Keneally
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

5 stars "Silence is a distant echo of the approach of the Muse."-Robert Fripp

Space symphonic music achieved with a processed electric guitar plus loops, played as environmental music between Robert Frippīs collaborations with other quiet more famous disciples, this being the 12th gig on the G4 tour with Joe Satriani, Steve Vai and Kenny Wayne Shepherd. None of these guys except for Fripp of course, participate in this 2015 "KENEALLY", but Mike Keneally (featured here in PA ) does. Out of nowhere, but with extraordinary results.

Ok, enough credentials, to where it matters the music itself. Considering the attention, patience and mastery, Fripp has aquired in playing for not that "friendly" or indifferent audiences, somehow it adds up to the miracle of displaying this masterful pieces and achieving such an unidirectional perfection.

This live recording compresses Robert Frippīs best musical ideas transfixed with elegance into space music, which has no real resemblance in the Prog world, not even with the PE category, as to compare with. But those familiar with this kind of space trips in the classical music field (i.e.Holst, Mahler, Stockhausen), will find the time and the full-attention it requires to explore this Robert Frippīs electronic/symphonic, "planets" and "Cosmos" musical concept.

Add up a mirror image of a young Robert Fripp in the form of Mike Keneally, playing alongside "old" self Fripp, like a trip through time, as a trip through a very touching and intimate, yet universal and human to the bone space journey.

*****5 "MASTERWORK" from A to Z!

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 Follow (With Travis) by FRIPP, ROBERT album cover Studio Album, 2012
4.17 | 22 ratings

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Follow (With Travis)
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

5 stars What a beautiful combination. Fripp's soundscapes and Frippertronics paired with Theo Travis' own Ambitronics. These instrumental experiments are pensive and lovely, very accessible mostly minimal pieces with a lot of atmosphere. The music is completely improvised, but it all has direction and the tracks are titled appropriately to fit the ambience of the music.

The recording was specifically created for the best playback on surround sound systems, and, of course, Steven Wilson was brought in to produce the album. However, the sound is also excellent and crystal clear on regular stereo systems as well. The CD comes as 2 discs, the first with the regular recording and the 2nd with the surround sound recording which also contains 3 bonus tracks.

The music is very peaceful and meticulously played. It is also quite accessible in that there is not very much dissonance involved, but there is a lot of beauty involved and could be one of Fripp's loveliest collaborations. Except for a few places, for the most part there is no harshness as was evident on Fripp and Eno's collaborations. This particular music however was composed to be able to be performed in churches.

The first 3 tracks were thoughtfully named in that their titles fit their moods and feelings. "Soaring and Gliding" does just as it says, it gives you the feeling of free floating among the clouds. "Dark Clouds" is definitely a darker feeling which evokes the feeling of approaching and threatening clouds giving the feeling of an oncoming storm. However when the storm does reach the listener in "When the Rains Fall", the sustained notes in the background give the base of a staccato and arppegiated flute and reed sound which represents the rain falling softly. Simply beautiful.

Next is a short track which is a solo by Travis called "Hear Our Voices" which is a perfect example of how "Ambitronics" works. This track flows into the next track "1979" which is named after the year that Fripp's part was recorded. Travis adds his input over the top of the original track for an interesting sound which reminds me almost of a Native American sound.

"Open Land" has another nice ambient sound with more variation and the mood tends to drift towards a spacey feeling which is even more prevalent in the next track aptly named "Return to Saturn." From here the next track "Rotary Symmetrical" follows in what seems to be a natural way, but suddenly there is a harshness in Fripp's sound that seems to frighten up a flock of brass and wood that starts to flutter everywhere. The sound starts to approach a clinical sound somewhat more reminiscent of the earlier Frippertronic sound but with the added beauty of Travis' wind instruments. This departure into harshness prepares the listener for the final track "So There" which is a surprisingly more rock oriented sound, but not anything conventional. The last track tends to remind you that even though most of this album tends towards the classical composition, the music is really rooted in progressive rock and though the change is not abrupt which would have made the track feel like it was tacked on, the previous track makes this track feel like it is all part of the entire work.

This is an amazing sound. Even though Travis and Fripp have had previous releases, none of them have felt as cohesive and complimentary as this one does. It feels like these two geniuses have been developing their music to the point that they were finally ready for one another. Never has experimentation felt so natural and beautiful as it does here. If there are any recent Fripp albums that could be considered essential, it is this one. It feels like the culmination of the work of these two musicians has come about on this album, that the music from both artists have been waiting around for this moment to be heard in this way. I didn't expect this album to be as good as it is and maybe that sways my rating a little, but I must say that this entire album is extravagant and beautiful. Fripp fans must get this as it is essential in a cumulative sense and because it simply is a masterpiece of improvisation and experimentation.

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 Exposure by FRIPP, ROBERT album cover Studio Album, 1979
3.72 | 148 ratings

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Exposure
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

4 stars Even with the temporary disbanding of King Crimson, Robert Fripp was a busy musician. He was playing session guitar with a host of bands including Talking Heads, Blondie, The Roches, Peter Gabriel, Daryl Hall and so on. He was also working on his first solo album which originally was supposed to be the last part of a trilogy that somehow was connected with his work on Daryl Hall's solo album and Peter Gabriel's 2nd album. Things didn't quite work out the way they were supposed to though, even though all 3 albums were eventually released to the public. Mr. Hall's solo album was not as commercial as the record company wanted. They were afraid that it would hurt the success of Hall & Oats, so the album was shelved. In the meantime, Robert Fripp's original plan for his own solo album was supposed to be completely sung by Daryl Hall, but, again the record company tried to intervene and wanted the album to be headlined by both Hall and Fripp and wouldn't back it any other way. So, Fripp got other lead singers to sing on some of the tracks and hence, you have several singers which I think actually adds to the album in a positive way. Also, there were a few different versions of the album because Fripp had some issues and thus a few versions of the album are out there, some are quite rare.

As far as the album, it is a pretty good collection of tracks. There are some great tracks here, however, because of the issues the album experienced, it is not always very cohesive. The variety in the music is great, but it does have a feeling of disjointedness, but not to the extent as to completely ruin the album. There is a mixture of past and future King Crimson sound here, some pre-Frippertronic sounds, vocals and instrumentals and sound/voice bits mixed through the album. It actually works quite well as a bridge from past to future albums for both Fripp and King Crimson. I can't help but think that if things had gone as Fripp wanted, that this would have been a masterpiece, because there are echoes of genius throughout. Some vocals are harsh sounding and some are very nice. Peter Gabriel's vocals on "Here Comes the Flood" are beautiful, Daryl Hall's vocals are sometimes very obvious while on other songs are surprisingly different. Terri Roche's vocals are very well done and even sounds similar to Joni Mitchell at times to a great effect. Peter Hammill's vocals are quite harsh and sometimes hard to listen to, but it doesn't distract from the overall feel of the album too much. The instrumentals are very obvious Robert Fripp tracks though. You get the industrial sound of KC's Discipline album on tracks like "Breathless" and "Disengage" and you get beautiful sustained notes that are obvious Frippertronic sounds on "Urban Landscape" and "Water Music II".

Overall, there is a lot going on here. It's a shame the cohesiveness that could have been there is lost probably mostly due to the issues that the record company were causing trying to compromise artistic freedom for commercialism, we all know that isn't the first or last time that would ever happen. But, even with all of that, this still turned out to be an excellent album. It is also a milestone as far as RF and KC fans are concerned as it show the transition from styles. The new KC sound that was to come makes a lot more sense and doesn't seem so abrupt now. Anyway, I still feel that RF was able to pull of an excellent album and I am proud to have it in my vinyl collection as I think anyone should be. 4 stars.

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 The Gates Of Paradise by FRIPP, ROBERT album cover Studio Album, 1997
3.87 | 38 ratings

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The Gates Of Paradise
Robert Fripp Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars This was an interesting listen the first time I heard it because it sounds nothing like I thought it would. Many consider this to be Fripp's best "soundscape" album and I have to confess the only other solo Fripp album I own is called "Exposure" which is a song based album. It might just be the subject matter(ya think?) but the music is melancholic and haunting to almost scary at times. It consists of four long tracks with tracks one and three called "The Outer Darkness" or Hell, and tracks two and four called "The Gates Of Paradise" or Heaven. It doesn't show it on the track listing on PA here but each song is broken down into sub-titles which certainly gives us some context.

I have to admit I didn't know this album had a concept to it when I bought it but once I found that out I was reminded of Fripp's guest appearance on IONA's "Beyond These Shores" record some four years earlier as he added his Frippertronics to that Christian band's album. The connection between the two isn't the music but the Christian themes.

Things get started with the longest tune on here "The Outer Darkness" clocking in at just under 24 minutes. Man I found this annoying at times, specifically during the "Wailing" sections that crop up four different times. It almost sounds like processed organ that is very loud. Again to me this is more annoying than scary. Love the start though with that powerful atmosphere that settles back around 5 minutes. The first arrival of the "wailing" section comes in around 7 1/2 minutes and it sounds like an angry church organ. This happens three more times over the length of this long track. I much prefer the spacey and mellow soundscape 19 minutes in. "The Gates Of Paradise" sort of drifts along and the organ-like sounds are softer here and more enjoyable for sure.

The third track "The Outer Darkness" starts off loud and annoying and this continues pretty much throughout. Yes this is my least favourite track and it's sub-titled "In Fear And Trembling Of The Lord". "The Gates Of Paradise" ends the album and it's my favourite soundscape on here. And this does sound different from the rest and it's more interesting as well with more variety of sounds added this time around. It's still haunting and spacey though. A change around 7 minutes as it calms right down. This final part is called "Acceptance". Nice. Beautiful stuff.

I wish this moved me like it does others but it doesn't, and the enjoyment factor is quite low so 3 stars it is.

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 1999 Soundscapes - Live in Argentina by FRIPP, ROBERT album cover Live, 1994
3.48 | 14 ratings

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1999 Soundscapes - Live in Argentina
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

4 stars "Music for the 21st century schizoid human being"

Robert Fripp's 1994, "1999", Soundscapes - Live in Argentina. Track by track.

1999-track 1: Massive, cacophonic, uncompromising, restless, deeply intense, symphonic like overture, constructed step by step with Fripp's "trademark" soundscapes.

2000- track 2: Juxtaposed layers of contradictory melodic lines,immersed in an ocean of hypnotic and invisible, attractive, "noise" riffs.

2001-track 3: A slow flowing sonic landscape adorned with a sweeping synths and bells like guitar loops, that work as background to a minimalistic guitar soloing, that dissapears eventually in an entanglement, of the increasing presence, of layers of drone like "soundscapes", filling the whole space with an extraordinary melodic contrast of high pitched timbres and pitch black tones, which create an unexpected composition of "contemporary classical music" grandeur!

Interlude-track 4: A short exercise of tranformation from "frippertronics" to"soundscapes". This" King" has more than one kingdom.

2002-track 5: Could pass as a pre- "Blessing of Tears" track. An inviting reflection into an isolated "soundscape" filled to the top with layers of sonic textures, which eventually reduce themselves into a simple stereo guitar loop, which just like that vanishes.

No recorded applauses, as almost always, with Robert Fripp's "live" albums.

****4.5 PA stars for a top-quality, evoluting and unique musical language and performance. If you are expecting KC, it does not happen at all. You were forwarned! .

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 Soundscapes-Diamond Hall, Nagoya, Aichi, Japan November 27, 2006 by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2009
4.00 | 1 ratings

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Soundscapes-Diamond Hall, Nagoya, Aichi, Japan November 27, 2006
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars Another gentle reminder, this is a masterful performance. Yes!, another one. I will be unwise, at this lenght of the race, to overstate, that this music, is quiet close, from where "prog" kind of limits away from "contemporary central-european classical" music. This, one of a series of performances, that were scheduled for a "ProjeKt" band appereance, during a Porcupine Tree tour in Japan, had to turn otherwise, due to the fact that half' the band was unavailable (Adrian Belew), so Robert Fripp not backing up from his pre-established compromise, set a series of "Soundscapes" solo performances, in which he has become an authority, since 1979, more or less.

The "darker" tones of his composition writing, prevails all through this performance. He privileges austerity over self-emphasis, maybe even like "sacred" kind of music, without never pretending such a thing, but more like receptive of the audience's reaction.... Imagine, this was the "openning" act for PT, so I suppose he kind of got away with it, knowing beforehand, the respect which is "usually" given to performers, in those parts of the world. (In fact he has lots of "followers" down there in Japan, the same as P.T. and K.C!).

If you do not mind, setting foot on some kind of electronic, "crossover", experience, that is closer to contemporary classical music "canons", done entirely with a single electric guitar, backed up by myriads of subtle, yet enourmous pre-recorded, "drone-like", invisible structures, well you are game!

Performed up-front, in an awesome display of discipline and creativity, by "King C" himself, this is an essential 4 star work.

The only thing you will regret, uncommon these days, is that it does not last longer (less than 40 minutes), Damn! ****4 PA stars

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 Soundscapes - Junction, Cambridge, UK December 2005. by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2005
4.00 | 1 ratings

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Soundscapes - Junction, Cambridge, UK December 2005.
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars The set of "live" works played as part of a Porcupine Tree's 2005 tour gig, seem like, what I could easily re-baptize as "A Young Person's Guide to Robert Fripp's Soundscapes" in accordance to his manners. I am obviously guessing, but as a performance it actually covers the "whole" trip of his "Soundscape" biography. I find in this performance (most of his "Soundscape" projects are recorded in live venues) the dissection of his best achievements, compressed into direct and out in the open display of his best treasured findings, as if presenting his "Jewels" to a mostly eager to rock audience, than time to listen to this guy who dresses like an accountant. Maybe Mr, Fripp thought PT's audience will be as cultured as the band but he of course, was proven wrong. Here are his published comments about the experience "There were some musical developments, although it was difficult to feel an overall sense of the performance because so few people heard what was going on; and their lack of connection prejudiced my own. But, I trust the process, and persist ". And yes persisted and achieved to us "few" who actually appreciate his work then and now, outside the Crimson... "Como darle perlas a los puercos" goes the saying here in Mexico. The translation may sound offensive but true "Like giving pearls to the pigs" without offending the pigs of course. An amazing display in a quiet short timed "live" performance, of a self created musical language, refined by a self-impossed quest of creation, covering up in a less than 40 minutes, years of exploration, performed against all odds of reception, and be such an artist to sound like this. WOW! ****4.5 "nothing comes close to Fripp but Fripp himself", PA stars. DGM live sells this downloadable masterpiece, there is no excuse to miss it at all. Climb the ladder!

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 Inroads, New York, NY, USA August 06, 1981 by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2009
4.00 | 1 ratings

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Inroads, New York, NY, USA August 06, 1981
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars It ismy fault this Robert Fripp addition has no art/cover, although it is meaningless, in comparisson to trying to push this 1981 masterwork "live" performance, which has been "unearthed" by the DGM label, which has the full approval of the composer himself, as to its release as a downloadable/ cd in 2009. By the time of the performance, Mr. Fripp's "frippertronics" were becoming richer in his "writing" of simultaneous electric guitar lines or "riffs" (if it fits), happening alongside his pre-recorded material.

This by all means is "PROGRESSIVE/ELECTRONIC", so it will fairly be more appreciated by that "ever growing" crowd.

In able to have more edge, with this uncompromising song writing, is to understand the amplitude of a single musician, with an own re-structured language (although there are some very Crimson-like heavy/guitar solos), that constructs single handedly, huge, apparently "naked", dynamic, minimalistic structures, that are both rich in daring composition as performance. The whole album lasts less than 40 minutes, and yet it could not get better.

Forewarning the "world' of the upcoming great, "Let the Power Fall" in those days, this is by far its best precedent. Highly recommended to be owned, by any "alternative" Progressive/Electronic follower, or any one who wonders what this is all about. IMO, ****4 PA stars.

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 Gaston Hall Washington, DC, USA-1983 by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2013
4.00 | 1 ratings

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Gaston Hall Washington, DC, USA-1983
Robert Fripp Eclectic Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars A year after recording 'I Advance Masked", with fellow guitarist Andy Summer, Robert Fripp started another "Frippertronics" tour around various north american (USA & Canada) universities and theaters,. This time "the music" came along with a down to earth interaction between Mr. Fripp and the audiences. This are mentioned as "lectures" in this series of LIVE recordings (this is no EP nor Fan disc, I upload it wrong and then, it was moved to this EP/FAN category, this is a series of authorized , by Fripp, himself, LIVE recordings, you can get them in the DGM Live label).... Anyway, this excersise of conversation eventually turns into a very humorous monologue, where Fripp talks about some personal and general matters (this disc's Lecture is about electronic and ethnic music progressions and their methods of expression). I myself am not big fan of Lectures but these uncover a very bright witted guy, with a keen sense of humour. Anyway, the MUSIC, is extraordinary. Fripp's Frippertronics in this set are so hypnotic, that the feeling in general is that of "austere magnification", intimate, yet expandind into huge structures, which are melted around eventually, with an awesome display of very "frippish" and very inspired, guitar solos. Considering the enlightning lecture , Mr. Fripp is consciously getting away off the "Crimson" stardom legacy, that's why the emphasis in "frippish" . Anyway, I moved the lectures to the bottom of "my" disc version, and the whole thing is worth its price, both in advanced "Frippertronics" combinations and as an audiophile hypnotic "live"experience, in music and spoken word. Among this sets this one is ****4 PA stars, sharp!

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Thanks to ProgLucky for the artist addition. and to easy livin for the last updates

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