Robert Fripp Albums (20)
'At the End of Time: Churchscapes - Live in England & Estonia, 2006'
Release Date 7/2/2007
Tracks 10
Label Panegyric
See Album Tracklist and Review
What The Critics Say
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. Parties wishing to hear complete Churchscapes -- as well as a perpetually expanding library of solo Fripp (and King Crimson) shows can download them in both the compressed mp3 or lossless FLAC formats online at http://www.dgmlive.com. ~ Lindsay Planer, All Music Guide
What The Critics Say
Although Robert Fripp's Love Cannot Bear only contains two previously released tracks, it could almost serve as an overview of his Frippertronic/Soundscapes work, since it spans the entire span of this aspect of his music: 1983-2005. Over this time, not only has the technology changed drastically, but Fripp's approach to the pieces themselves has also evolved. As "affirmations," these pieces are all beautiful and elegant, in contrast to some of the more dissonant and atonal soundscapes of the '90s, and each has its own quiet power. Soundscapes of the '90s and beyond have a much wider tonal palette to draw from, like the bell-like tones at the end of "Acceptance - Affirming" or the piano sounds used over the top of the piece on "On My Mother's Birthday" (all coming from his guitar, mind you). "Midnight Blue" sounds more like strings, and "Affirmation: New York" almost sounds like pipe organ. The oldest piece here (originally released as one side of a split flexi-disc with Allan Holdsworth) dates to 1983 and is the only representation here of "original" Frippertronics: Fripp's guitar looped through two Revox reel tape machines. Unlike Let the Power Fall, which was pure Frippertronics, there is some overdubbed soloing on this track. Surprisingly, it's acoustic guitar at the beginning, but soon that wonderfully saturated electric guitar takes over. The other somewhat surprising piece is the title track, which might actually be the first Fripp vocal. Over a lovely soundscape, a vocoded Fripp recites a heartfelt poem about the power of music and silence, then solos over the soundscape. It may be slightly jarring to some, but the processed vocals are fairly unobtrusive. People looking to hear Fripp rock out should look elsewhere. These are refined, contemplative pieces that live far outside the rock tradition. Probably closer in spirit to a Fugue, this is truly beautiful music that is demeaned by the new age label sometimes placed on it. If you're new to Fripp's world of soundscapes, this would be a fine place to start. ~ Sean Westergaard, All Music Guide
What The Critics Say
Almost 30 years on since Evening Star, Robert Fripp and Brian Eno resume their collaboration, and remarkably, they seem to have picked up right where they left off. Remarkably, because Fripp's more recent soundscaping has had a different quality than either his collaborations with Eno or his proper "Frippertronics" albums like Let the Power Fall or the solo side of God Save the Queen/Under Heavy Manners. Surely they're not back to using the old Revox tape machine setup, but having Eno in the producer's chair (not to mention making his own musical contributions) seems to add a warmth that's been missing from albums like 1999. But much like Evening Star showed a progression from No Pussyfooting, The Equatorial Stars is another step forward while retaining all the same elements as their previous work together. On "Meissa," there's just a bit of glitch periodically applied to the background keyboards and guitar harmonics with Fripp soloing softly over the top. "Lyra" is even prettier, and you can really hear Fripp's guitar lines trailing off into the distance. His tone here is less saturated than on the earlier albums, but there's just as much sustain and his playing is beautiful and lyrical. "Ankaa" bears the strongest resemblance to the material on Evening Star, with that classic "Frippertronics" guitar tone. And just as their previous efforts were mostly, but not entirely, placid, The Equatorial Stars takes on a slightly more aggressive tone (if you can call it that) toward the end. "Lupus" adds the pulse of a heartbeat and a bit of sonic scuzz to the mix, and "Terebellum" takes on a slightly more ominous tone. Most surprising is "Altair," which almost gets funky with a bit of bass and some chicken scratch rhythm guitar work. While Fripp is nominally at the forefront on The Equatorial Stars, Eno's contributions and excellent production are just as important. There seems to be a genuine synergy when these two work together, and The Equatorial Stars is a worthy successor to their earlier brilliant albums together. ~ Sean Westergaard, All Music Guide
'The Gates of Paradise'
Release Date 4/27/1998
Tracks 4
Label Discipline Global Mobile
See Album Tracklist and Review
What The Critics Say
Fripp continues his Soundscape series with this typically evocative piece. As with his other work of this period, the theme touches on devotional and spiritual matters, with Fripp painting challenging and solitary impressions with "Frippertronic" brushstrokes. The new age set will most likely balk at his more dissonant passages, but King Crimson fans and those with a taste for the unusual will delight in his ascetic excess. ~ Tim Sheridan, All Music Guide
'November Suite: 1996 Soundscapes - Live at Green Park Station'
Release Date 1/1/1997
Tracks 14
Label Discipline Global Mobile
See Album Tracklist and Review
What The Critics Say
When Robert Fripp is away from King Crimson, truly magical things come from his guitar. In a solo context, Fripp presents Soundscapes, built on the tradition of Frippertronics, a mode of musical expression he pioneered with Brian Eno over the course of two albums in the 1970s, No Pussyfooting and Evening Star. Those early albums relied on actual physical loops of tape, adding new elements with each repetition. Such limitations no longer exist. Working here in the realm of one guitar, and many, many effects processors, Fripp produces tones and textures that one would not assume are coming from a guitar at all. In 1996, Fripp was invited to play in a converted railway station in Bath, England. For three hours he graced passers-by with his most easily classified as contemporary space music (such as is heard on the Hearts of Space radio show), deprecatingly described by Fripp as "bleeping and droning." In fact, its in the middle of these. A very gentle, almost ambient atmosphere slowly takes over any room that the album is playing in. Closer listening is rewarded -- there is a lot happening on a very slow schedule, similar to Eno's Thursday Afternoon album. This is a precis of the entire three-hour program that was presented, edited to include every note played, but not every repetition of the note, much like the early-'90s version of Philip Glass' Einstein on the Beach. This is definitely a release for fans of the guitarist, and for fans of space music in general. ~ James Mason, All Music Guide
'That Which Passes: 1995 Soundscapes, Vol. 3'
Release Date 9/30/1996
Tracks 10
Label Discipline Global Mobile
See Album Tracklist and Review
What The Critics Say
Unlike the two previous volumes of Robert Fripp's soundscapes series, the third release, That Which Passes, is not a completely improvised affair. These tracks have been edited from the original live recordings (recorded at two venues in 1995 -- the Goethe Institute of Buenos Aires and the Washington Square Church). On the preceding Vol. 2, Fripp issued a collection of instrumentals directly influenced by the death of his mother, and while Fripp does admit that the loss of his mother still affected the music's outcome a bit, That Which Passes is influenced by the general theme of "reflections on mortality and dying," and is not a carbon copy of its predecessor. The music still has a relaxing, somber quality, and does a good job of taking the listener on a textured musical journey throughout its duration. Fans of soothing new age and ambient instrumentals will surely enjoy Robert Fripp's That Which Passes. ~ Greg Prato, All Music Guide
'Thrang Thrang Gozinbulx'
Release Date 6/25/1996
Tracks 13
Label Discipline
See Album Tracklist and Review
'Radiophonics: 1995 Soundscapes, Vol. 1'
Release Date 5/28/1995
Tracks 6
Label Discipline
See Album Tracklist and Review
What The Critics Say
On his first volume in the Soundscapes series, Robert Fripp shuns his rock side and chooses to explore experimental, new age-like sounds instead. The selections on Radiophonics were culled from a seven-night stand of concerts that Fripp played in Buenos Aires from April 3 to April 9, 1995; in the liner notes, Fripp himself admits trying to test the audience's patience, generosity of spirit, and listening capabilities. With that said, you should expect that this isn't your typical record -- it's almost as if Fripp is a painter, splashing his canvas with all different kinds of colors and textures. The album transmits many different feelings, from haunting and eerie ("Buenos Aires Suite: I Atmosphere") to comforting and relaxing ("Buenos Aires Suite: II Elegy [For Mothers and Children]"). This is not a typical guitar hero solo album; in fact, the guitar doesn't even sound like a guitar at any point on the record. But if you're in search of a sedate recording that will clear your mind, Robert Fripp's Radiophonics: 1995 Soundscapes, Vol. 1 will do the trick. ~ Greg Prato, All Music Guide
'Intergalactic Boogie Express: Live in Europe 1991'
Release Date 1/1/1995
Tracks 20
Label Discipline
See Album Tracklist and Review
What The Critics Say
A brilliant live recording of Robert Fripp's League of Crafty Guitarists. From King Crimson covers and Fripp-written exercises (the several "Circulation" tracks, that turn the assembled group into a web of interconnected notes) to Bach preludes and a cover of "Wabash Cannonball," the group is incredibly sharp, disciplined, and the total opposite of loose. The title track is all that and more: an unstoppable machine rushing headlong at the listener. Probably one of the best League recordings, this is almost a final statement on the ideas and techniques of Fripp's Guitar Craft workshops (though they continue to this day). You will soon forget these are acoustic guitars: it's pure steel. ~ Ted Mills, All Music Guide
'A Blessing of Tears: 1995 Soundscapes, Vol. 2'
Release Date 1/1/1995
Tracks 8
Label Discpline
See Album Tracklist and Review
What The Critics Say
When Robert Fripp's mother passed away in 1993, he chose the new age sounds of his soundscape series to serve as a tribute to her. The liner notes in the CD booklet contain a beautifully written eulogy (by Fripp himself) about the interesting life of his mother Edie. Fripp does an excellent job of conveying his grief in the eight selections that comprise A Blessing of Tears, while his sorrow is evident in some of the tracks' titles ("The Cathedral of Tears," "A Blessing of Tears," etc.). All of the tracks were recorded live during a week-long U.S. West Coast tour, and it differs from the preceding Soundscapes release, Radiophonics, because its sole purpose is obviously not to test his audience's "listening capabilities." Fripp has once again successfully put his most personal and heartfelt feelings into his music, the proof being heard throughout the beautiful A Blessing of Tears: 1995 Soundscapes, Vol. 2. ~ Greg Prato, All Music Guide
