|
  Powerfully moving July 11, 2010
Written by Grouch
It was an excerpt from this recording - I believe released by RF in the wake of 9/11 - that awakened me to the power of soundscapes. Over the years since I downloaded the full performance, it has proven unfailing in its ability to move me. Certainly, if I wanted to introduce a friend to Fripp’s soundscapes, this is the recording I would lend them.
Light, Shade & Dark December 6, 2008
Written by DeVito
I downloaded this concert three months ago. After a dozen or so listens, I’m only beginning to be able to sort out and articulate my feelings about it. I’ve been trying to work my way into Soundscapes (or they’ve been working their way into me) for about 10 or 15 years now; I’ve found that my reactions tend to be somewhat unpredictable. Sometimes Fripp’s Soundscapes leave me cold, sometimes they’re depressing, sometimes they’re tremendously uplifting; often these feelings occur in rapid succession or even simultaneously. The 11/30/2000 concert feels, to me, more focused and coherent than many Soundscapes concerts. The music seems to express joy and sadness simultaneously while at the same time offering an objective and unflinching view of reality. There’s a kind of arc throughout the music, and when it’s over I feel a sense of wholeness, but also a sense of questioning and openness -- stillness and motion, completeness and yet an unsettled feeling. Not unsettled in a bad way, more a restless edge or energy, a sense that something important remains to be done. Anyway I can’t explain it better than that but I really like this music. --Chris DeVito
Out of the muck and into the stars March 22, 2007
Written by tungarbulb
I’ve loved electronic music ever since I heard my first TV re-run horror-movie theremin licks. Walter (Wendy) Carlos’ Switched On Bach was my formal initiation into the ranks of electronica fans. While Carlos utilized an entire studio built around a classic "switchboard"-type Moog synthesizer and multi-track analogue tape to virtually re-write the rules of classical performance, Fripp’s live improvisation in this now-lost landmark venue showers us with heavenly blue and hellfire red and every shade in between using only his trusty guitar and some sound-processing gear (certainly a far cry from the early 2-tape-deck Frippertronics setup).
Would I pay cash dollars to hear a pristine version of this concert when there are freebie bootleg versions floating around? I just did, and I’ll tell you why. My bootleg edition of this concert was made from a Realaudio capture. Realaudio is a relic of the days when "streaming" meant cramming an audio stream through a 14.4Kbps dial-up modem and hoping it didn’t sound too dodgy. I still consider Realaudio to be for tin ears only. I settled for this mediocre recording of this stellar performance because barring official release, that was probably the only way I’d ever be able to hear it. Thank you, Mr. Fripp for making top-quality versions of these excellent performances available for purchase at last!
Even though I now have the best-sounding available version of this performance, I still think I’ll hang onto my bootleg edition. It’ll make a wonderful drink coaster!
The musician, the audience, and SPACE were the parents of the music January 17, 2007
Written by k00kla
I was lucky enough to have heard about this performance on the day of its occurrence and took the train down after work. It seems I’m always hearing about these events the day after, but I got lucky this time. I’m so glad I did. The evening will always stand out in my memory (barring Altsheimer’s or general dementia) as a surreal and bright spike of an hour or so. It’s wonderful to be able to hear this recording.
It really is that good November 26, 2006
Written by millingt
This is a hard performance to describe, it must be heard to understood. The initial Part I wanders a bit, but from Part II- the entire second set, the soundscapes come like waves of color and emotion that cannot really be described. I suggest listening to this when you have free time and can listen to it straight through. Highly recommended.
Soundscapes World Financial Centre, New York April 11, 2006
Written by Wilbert
This is extremely beautiful, even more beautiful than Love Cannot Bear.
Beautiful, Quiet, Peaceful Serenity, I have no other words.
Robert, this is the One..... I follow your work since Crimson’s Dawn. This one is wonderful!!!!
Wilbert
WOW April 9, 2006
Written by skeeler87
Wow, I wish I was at this performance! It must have had such a strong emotional presance when it was being performed because it really comes across in the recording. Essential to a RF soundscapes collection.
I was at this show January 7, 2006
Written by ManhattanKid
It was one of the most interesting things I have ever heard.
Very moving at the time and also in retrospect considering all that connects to its location in time and space.
I am very glad to discover its existence on this site.
Soundscapes, World Financial Centre December 24, 2005
Written by ashgray
The one I’ve been waiting for, and for me, a culmination of everything that make Soundscapes such an evocative, stimulating and moving musical experience. This is "out there", as original as it gets, and stunningly beautiful. A hugely uplifting emotional roller-coaster that demands and repays your full attention every play. My deepest thanks for making this available and for reminding me that music has still only just scratched the surface of the possible. Ashley Gray
Beautiful and Majestic. December 24, 2005
Written by LouieB
Applause to DGM Live for the release of Robert Fripp’s now historic complete performance at New York’s World Financial Center in November 2000.
The 95-minute performance evokes many moods from Fripp’s guitar soundscapes - some which are serene and beautiful, others which become dissonant and unsettling but all of which are amazing to listen to.
The majority of the performance consists of unintruding flowing passages which are soothing and peaceful. The peaceful mood of the concert is only interrupted twice - first in the third part of the first set and again during the sixth part of the second set. These two musical detours are similar to the harsh soundscapes that were heard on both "1999" and "Radiophonics" with Part 6 of the second set sounding very much like an outtake from the former album.
With this said, it is awesome to have this performance available in its entirety. While I personally prefer to buy CDs instead of downloads, this performance was well worth the time, wait and headaches to own.
Definitive Fripp Soundscapes!!!
a beautiful gift December 19, 2005
Written by agentsdelfuturo
I was at this performance, as I was living in Brooklyn at the time. I had been to several soundscapes before this one, but this had a resonance that was unique to them all. Hearing it again for the first time, tears well up at this keyboard, and I remember the possibilities inherent in every present moment.
The World Financial Center was a very busy and very New York place. People walking fast with lotsa stuff to do. Yet somehow, stillness was present here.
Music as living process December 6, 2005
Written by DavidCooke
Highly recommended – like most great music, these soundscapes repay listening at several levels. They could be very attractive sonic wallpaper, if that’s all a listener wants. But pay more attention and new spaces open up, colours and emotions, as note interacts with note.
Some listeners might expect finite themes or melodies to grasp like solid objects. But this is music as a living process, continuously transforming and recreating. While chords and intervals recur, their significance changes with context.
Thank you for making this performance available. I hope there will be many more soundscapes to follow.
excellent December 5, 2005
Written by apleasantsymmetry
From the very first note i hear the sounds of heaven
excellant December 5, 2005
Written by apleasantsymmetry
From the very first note i hear the sounds of heaven
Very Beautiful Music December 2, 2005
Written by JamesLord
This is really very beautiful music. Warmly recommended.
Snapshot Of A Soul November 26, 2005
Written by stork54
In the manner of Bach, who produced his Musical Offering and Art of
the Fugue late in life and reminiscent of Beethoven’s late string
quartets, this is music which addresses profound musical,
psychological, and spiritual issues. The fact that this music
is essentially improvised only adds immediacy - like a "snapshot of a
soul" - which, while remaining an intensely personal statement, voices
a universal yearning. A friend of mine told me that once, while
playing the beautiful Prelude to La Catedral by Barrios for his teacher
Jesus Silva, Mr Silva commented that Barrios must have been a "very
good man" to have written such music. I believe the
same might be said here.
The definitive Soundscapes recording November 26, 2005
Written by SSImuse
Given the susequent events in history, the listener may
actually find themself convinced that the direction the music
takes the performer is a signal pointing to That Terrible
Day. Haunting yet inviting, heartbreaking yet uplifting -
this could quite possibly be Fripp’s best Soundscapes
performance. Ever.
Beautiful Performance November 24, 2005
Written by mflaherty
Like A Blessing of Tears before it, and the 2005 tracks from Love Cannot Bear,
this set focuses on reflective, slightly mournful sounds. Except
for a little distortion on a couple of tracks, the sound is
excellent. If you love soundscapes, I don’t think you’ll be
disappointed.
More Soundscapes November 11, 2005
Written by BilSabab
A suggestion for DGM. Create screensavers of the photos for each show
that is purchased. That way I can watch a slideshow of this show’s
photos while I listen to the music.
I
listened to the first track of the second disc today while paging
through the photos, and that made it all the more interesting.
A Tasty Gig November 30, 2000
Written by Steve Smith
My friend and I thought these were some of the most
finely-wrought Soundscapes we've yet heard, musically speaking. They just keep
getting better and better. The flash
photography (and even covert videotaping from someone up on an upper floor)
during the performance did not seem to bother Fripp at all. I think it just
shows that he accepts such interferences as inevitable in such a
free-of-charge, public setting. The flashes that went off literally in his face
as he stood at the front of the stage applauding the audience clearly troubled
him more, and sent him scurrying off the stage like a frightened deer.
But not
five minutes later Fripp was down on the floor, walking through the crowd and
handing out individually wrapped chocolates like everyone's favorite dotty old
aunt. (I suppose it's not unprecedented - last time Fripp played the WFC, after
the show he handed out cute little pastries at the merchandise table.) Someone
- presumably an ET reader - handed him a Butterfinger in return. Is it me, or
is this in danger of becoming a bit "Rocky Horror"? Good thing they've retired "Neal and Jack
and Me," or folks might start waiting for their cue to pelt Adrian with
apples and spaghetti the way Barenaked Ladies fans throw boxes of Kraft
Macaroni and Cheese at the stage during "If I Had $1,000,000"... ;-)
Wash Away The Noise November 30, 2000
Written by Robert C. Parducci
A fine performance which lasted about one hour. At the
beginning of the show John Schaefer announced by that the concert would later
be broadcast on WNYC (93.9 FM) sometime in January 2001. John also had kind
words to say about the entire series of six concerts, which he described as a
journey. Robert arrived on stage and greeted the audience, left, centre and
right. The audience was attentive and played their part well. Robert met or
exceeded our expectations. The first soundscape was introduced by a several
bell-like tones from the guitar, perhaps to test the water.
What followed was a
gradually built tapestry of tones and timbres, gently wafting through the
space. I took full advantage of the opportunity to shut my eyes and relax,
allowing the sound to wash away the noise one typically encounters during a day
in NYC. The second piece was presented in similar fashion. There seemed to be
an element of digital noise or clipping during the piece that must be an artefact
of the technology Robert uses. I have my doubts that this is a deliberate
effect. About halfway through the second piece there was a short moment of
silence, then Robert continued on. The piece finally ended with a swooshing
stereo effect, and it was over. A standing ovation, marred by some thoughtless
flash photography.
Sublime Performance April 1, 2005
Written by DanielK
This is a really good recording of a sublime performance in a lost space.
|
