In March Fripp had been in Nashville working with Ade, Pat and Tony. A month later he was back at Chateau Belewbeloid working with Adrian on KC material and also running through soundscapes ideas for the forthcoming G3 tour with Joe Satriani and Steve Vai scheduled for June. Fripp writes “Today's Soundscapes set: 52 minutes. I have over-run the allotted 45 minutes & my wages will be docked for infringing on the next artist. Well, as it's a test-run, I get paid the same. That, and a deep in-breath, will fill my lungs with air.”
Although Fripp didn’t know it at the time of writing, such was the hostile reactions from audiences on the tour, his 45 minute slot would actually be reduced to around half that time. Performed with only AB engineer Ken Latchney present, RF notes in his dairy of the time: “A more adventurous approach to Soundscaping today, visiting different colours, textures & programmes. Ken was the only audient/ce. And since Ken was attending to e-mail, he wasn't overly critical of the R&D”
On this day however, there were no such restrictions and to these ears the angels descended. The first twenty minutes and the slow-burning soloing during At The End Of Time surely counts amongst the best of Fripp’s soundscape work.
In March Fripp had been in Nashville working with Ade, Pat and Tony. A month later he was back at Chateau Belewbeloid working with Adrian on KC material and also running through soundscapes ideas for the forthcoming G3 tour with Joe Satriani and Steve Vai scheduled for June. Fripp writes “Today's Soundscapes set: 52 minutes. I have over-run the all...
Generally, (re audience ’reception’) why would anyone talk over a soundscape? Soundscapes require alert listening - they’re not ambient because you shouldn’t/can’t ignore them.Specifically, this is a beautiful set and I’m very grateful to have heard it. The notes specifically mention the first 20 minutes and At The End Of Time, but I’d like to put in a word for the central pieces, Dance Shallal and Bell Hover Threshold. I love the chiming and bell-like tones Mr Fripp uses here, unl...
Generally, (re audience ’reception’) why would anyone talk over a soundscape? Soundscapes require alert listening - they’re not ambient because you shouldn’t/can’t ignore them.Specifically, this is a beautiful set and I’m very grateful to have heard it. The notes specifically mention the first 20 minutes and At The End Of Time, but I’d like to put in a word for the central pieces, Dance Shallal and Bell Hover Threshold. I love the chiming and bell-like tones Mr Fripp uses here, unlike anything I personally have ever heard in soundscapes before.And Requiem is just that. A perfect close - although the set is apparently "too long", it would not be complete without this piece.
