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        <title><![CDATA[DGMLive Music]]></title>
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            <title><![CDATA[DGMLive Music]]></title>
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        <description><![CDATA[RSS updates of music on DGMLive for King Crimson, Robert Fripp and The Vicar]]></description>
        <language>en</language>
        <pubDate>2026-04-24 08:43:05</pubDate>

                    <item>
                <title><![CDATA[New music available: Heavy ConstruKction]]></title>
                <link>https://dgmlive.com/tour-dates/1997</link>
                <description><![CDATA[CD 1 & 2: These recordings are taken from DAT recordings of the front-of-house mixing desk during the KC tour of Europe, May-July 2000.
CD3: “A cohesive presentation out of a series of incoherent events”. Imagine an evening of KC improvisations, complete with rogue flash photographers.]]></description>
                <content:encoded><![CDATA[CD 1 & 2: These recordings are taken from DAT recordings of the front-of-house mixing desk during the KC tour of Europe, May-July 2000.
CD3: “A cohesive presentation out of a series of incoherent events”. Imagine an evening of KC improvisations, complete with rogue flash photographers.]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/1997</guid>
                <pubDate>Fri, 24 Apr 2026 08:43:05 +0000</pubDate>
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                    <item>
                <title><![CDATA[New music available: Hit Factory New York]]></title>
                <link>https://dgmlive.com/tour-dates/2840</link>
                <description><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year.

These takes and outtakes are from the reels that were dated 31 January 1978, they have been brought together here for the first time. Robert is joined by Tony Levin and Narada Michael Walden.

Flac 24/48]]></description>
                <content:encoded><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year.

These takes and outtakes are from the reels that were dated 31 January 1978, they have been brought together here for the first time. Robert is joined by Tony Levin and Narada Michael Walden.

Flac 24/48]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2840</guid>
                <pubDate>Wed, 15 Apr 2026 13:45:44 +0000</pubDate>
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                    <item>
                <title><![CDATA[New music available: Basing Street Sessions 4 December 1977]]></title>
                <link>https://dgmlive.com/tour-dates/2837</link>
                <description><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year. 

These recording are from Basing Street Studio in London, some of these recordings have existed on the site in one form or another, and in the Exposures box set, but these are the complete recordings from the sessions with John Wetton and Phil Collins, remixed especially.


Flac 24/48]]></description>
                <content:encoded><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year. 

These recording are from Basing Street Studio in London, some of these recordings have existed on the site in one form or another, and in the Exposures box set, but these are the complete recordings from the sessions with John Wetton and Phil Collins, remixed especially.


Flac 24/48]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2837</guid>
                <pubDate>Thu, 09 Apr 2026 11:04:13 +0000</pubDate>
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                    <item>
                <title><![CDATA[New music available: Basing Street Sessions 3 December 1977]]></title>
                <link>https://dgmlive.com/tour-dates/2836</link>
                <description><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year. 

These recording are from Basing Street Studio in London, some of these recordings have existed on the site in one form or another, and in the Exposures box set, but these are the complete recordings from the sessions with John Wetton and Phil Collins, remixed especially.


Flac 24/48]]></description>
                <content:encoded><![CDATA[The Complete Recordings from Robert Fripp’s Exposure sessions in 1977-78, mostly recorded in New York City at the Hit Factory, with a host of contributing artists, not all of whom made it to the final cut of the album, released in 1979. Now being made available as part of the celebrations in the guitarist’s 80th birthday year. 

These recording are from Basing Street Studio in London, some of these recordings have existed on the site in one form or another, and in the Exposures box set, but these are the complete recordings from the sessions with John Wetton and Phil Collins, remixed especially.


Flac 24/48]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2836</guid>
                <pubDate>Thu, 09 Apr 2026 10:36:54 +0000</pubDate>
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                    <item>
                <title><![CDATA[New music available: Starless And Bible Black (Improv)]]></title>
                <link>https://dgmlive.com/tour-dates/2834</link>
                <description><![CDATA[King Crimson’s appearance at Amsterdam’s Concertgebouw on 23 November 1973 is rightly regarded as one of the band’s best performances, especially when it came to that evening’s improvisations. Of the three improvs that night, Starless And Bible Black and Trio were deemed so good that they made it onto the band's 6th studio album, released in March 1974.  

Trio, well-known for Bill Bruford’s decision to sit in silence with his drumsticks crossed over his chest for the duration of the piece, earned him the now-legendary credit, “admirable restraint.” However, what if Bill had decided to play nothing on the improvisation that preceded Trio? It's a piece that features all kinds of percussion, along with some of Bruford's trademark grooves and dynamic punctuation, which really help shape it. How might it all have sounded if Bill had sat this one out?

Well, wonder no more, because for this Monday Selection, Alex Mundy has gone to the original tapes and, by muting Bill’s dynamic drum and percussion parts, he has reimagined a very different kind of trio that places Fripp, Wetton, and Cross in splendid isolation. This musical counterfactual showcases the vivid intricacies and melodic flow as the three players respond to each other on the fly, and of course, provides the listener with a renewed appreciation of Bruford's role in such moments.

30 March 2026]]></description>
                <content:encoded><![CDATA[King Crimson’s appearance at Amsterdam’s Concertgebouw on 23 November 1973 is rightly regarded as one of the band’s best performances, especially when it came to that evening’s improvisations. Of the three improvs that night, Starless And Bible Black and Trio were deemed so good that they made it onto the band's 6th studio album, released in March 1974.  

Trio, well-known for Bill Bruford’s decision to sit in silence with his drumsticks crossed over his chest for the duration of the piece, earned him the now-legendary credit, “admirable restraint.” However, what if Bill had decided to play nothing on the improvisation that preceded Trio? It's a piece that features all kinds of percussion, along with some of Bruford's trademark grooves and dynamic punctuation, which really help shape it. How might it all have sounded if Bill had sat this one out?

Well, wonder no more, because for this Monday Selection, Alex Mundy has gone to the original tapes and, by muting Bill’s dynamic drum and percussion parts, he has reimagined a very different kind of trio that places Fripp, Wetton, and Cross in splendid isolation. This musical counterfactual showcases the vivid intricacies and melodic flow as the three players respond to each other on the fly, and of course, provides the listener with a renewed appreciation of Bruford's role in such moments.

30 March 2026]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2834</guid>
                <pubDate>Tue, 24 Mar 2026 16:42:26 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Summit Studios]]></title>
                <link>https://dgmlive.com/tour-dates/2830</link>
                <description><![CDATA[Here is the full performance from the Sailors' Tales box set. This show has been released before in the Collectors Club, CLUB9 (2000) but this edition is a remix of the show by David Singleton from the multitrack tapes, available for the first time outside of the box set.

12 March 2026]]></description>
                <content:encoded><![CDATA[Here is the full performance from the Sailors' Tales box set. This show has been released before in the Collectors Club, CLUB9 (2000) but this edition is a remix of the show by David Singleton from the multitrack tapes, available for the first time outside of the box set.

12 March 2026]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2830</guid>
                <pubDate>Mon, 09 Mar 2026 11:43:06 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: ICA London Impetus Magazine Benefit Concert]]></title>
                <link>https://dgmlive.com/tour-dates/2829</link>
                <description><![CDATA[“In the area where the performer opens himself up to look like a turkey, and the audience makes the generous concession to get involved in the spirit of things, something definitely more worthwhile is possible,” observes Robert Fripp before the gathering in London’s ICA for a joint concert with Keith Tippett.

The occasion was a benefit concert in aid of Impetus magazine. Edited by Kenneth Ansell, this excellent independent publication ran for ten issues covering between 1976 and 1980, covering an eclectic range of music. More a labour of love than a going commercial concern, the magazine struggled from issue to issue and closed not long after this concert.  

Fripp and Tippett’s association dates back to 1969, when both King Crimson and The Keith Tippett Group were regarded as hot-ticket items in their respective fields. Tippett’s appearances on Crimson’s Poseidon, Lizard, and Islands albums were reciprocated by Fripp producing records by Tippett’s Ovary Lodge, Blueprint, and the large-scale orchestral project, Centipede. However, aside from a small handful of appearances when Fripp joined Centipede onstage, this was the duo's first time performing in front of an audience.

Coinciding with The League Of Gentlemen being off the road, the afternoon performance was dogged by technical issues, including the non-appearance of the piano, which, for a pianist, is rumoured to be the very worst kind of technical issue there is

Happily, this audience recording hails from the evening, beginning with Tippett’s excoriating solo performance, which could be worth the price of admission alone. In comparison to the pianist’s freewheeling improvisation, the way in which Frippertronics is built up with a series of layers may seem rigid. Yet both Tippett’s solo piece and Fripp’s approach share repetition as a key element, albeit expressed in very different ways.

When they do finally perform together as an interactive duo, the results feel less cohesive, partly because Fripp uses a Roland keyboard through the tape-loop process and Tippett’s cautious engagement. Lacking a coherent space that encourages free-flowing dialogue, there are nevertheless brief moments when sparks do fly, resulting in an interesting, if uneven, experiment between these two old pals.

3 March 2026]]></description>
                <content:encoded><![CDATA[“In the area where the performer opens himself up to look like a turkey, and the audience makes the generous concession to get involved in the spirit of things, something definitely more worthwhile is possible,” observes Robert Fripp before the gathering in London’s ICA for a joint concert with Keith Tippett.

The occasion was a benefit concert in aid of Impetus magazine. Edited by Kenneth Ansell, this excellent independent publication ran for ten issues covering between 1976 and 1980, covering an eclectic range of music. More a labour of love than a going commercial concern, the magazine struggled from issue to issue and closed not long after this concert.  

Fripp and Tippett’s association dates back to 1969, when both King Crimson and The Keith Tippett Group were regarded as hot-ticket items in their respective fields. Tippett’s appearances on Crimson’s Poseidon, Lizard, and Islands albums were reciprocated by Fripp producing records by Tippett’s Ovary Lodge, Blueprint, and the large-scale orchestral project, Centipede. However, aside from a small handful of appearances when Fripp joined Centipede onstage, this was the duo's first time performing in front of an audience.

Coinciding with The League Of Gentlemen being off the road, the afternoon performance was dogged by technical issues, including the non-appearance of the piano, which, for a pianist, is rumoured to be the very worst kind of technical issue there is

Happily, this audience recording hails from the evening, beginning with Tippett’s excoriating solo performance, which could be worth the price of admission alone. In comparison to the pianist’s freewheeling improvisation, the way in which Frippertronics is built up with a series of layers may seem rigid. Yet both Tippett’s solo piece and Fripp’s approach share repetition as a key element, albeit expressed in very different ways.

When they do finally perform together as an interactive duo, the results feel less cohesive, partly because Fripp uses a Roland keyboard through the tape-loop process and Tippett’s cautious engagement. Lacking a coherent space that encourages free-flowing dialogue, there are nevertheless brief moments when sparks do fly, resulting in an interesting, if uneven, experiment between these two old pals.

3 March 2026]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2829</guid>
                <pubDate>Tue, 03 Mar 2026 10:08:23 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: THRaKaTTaK]]></title>
                <link>https://dgmlive.com/tour-dates/1993</link>
                <description><![CDATA[An hour of improvised music from the 1995 tour of Japan and the USA.]]></description>
                <content:encoded><![CDATA[An hour of improvised music from the 1995 tour of Japan and the USA.]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/1993</guid>
                <pubDate>Mon, 02 Mar 2026 12:33:27 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Spanish Landscape I]]></title>
                <link>https://dgmlive.com/tour-dates/2828</link>
                <description><![CDATA[It’s interesting what turns up in the vaults. When Alex Mundy found himself rummaging through the Exposure multi-track tape, he discovered a previously unreleased track by Tony Levin and Jerry Marotta, getting into a seriously deep groove amidst some soaring Frippertronics loops. 

While clearly a piece in development, the pensive atmosphere sounds close to the claustrophobic title track. The bass and drum drop-out comes from Alex hitting the mute button, allowing the gaseous Frippertronics to briefly swell and billow from their rhythmic containment. 

In another example of mixing the time lines, Alex has added some previously unheard Fripp soloing from the multi-track tapes of Matte Kudasai in 1981. The combined effect of this experiment in applied Frippertronics is utterly hypnotic and excitingly fresh.

23 February 2026]]></description>
                <content:encoded><![CDATA[It’s interesting what turns up in the vaults. When Alex Mundy found himself rummaging through the Exposure multi-track tape, he discovered a previously unreleased track by Tony Levin and Jerry Marotta, getting into a seriously deep groove amidst some soaring Frippertronics loops. 

While clearly a piece in development, the pensive atmosphere sounds close to the claustrophobic title track. The bass and drum drop-out comes from Alex hitting the mute button, allowing the gaseous Frippertronics to briefly swell and billow from their rhythmic containment. 

In another example of mixing the time lines, Alex has added some previously unheard Fripp soloing from the multi-track tapes of Matte Kudasai in 1981. The combined effect of this experiment in applied Frippertronics is utterly hypnotic and excitingly fresh.

23 February 2026]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2828</guid>
                <pubDate>Mon, 23 Feb 2026 12:45:37 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Islands]]></title>
                <link>https://dgmlive.com/tour-dates/2824</link>
                <description><![CDATA[This special version of Islands by Alex Mundy features Boz Burrell’s original vocal from King Crimson's fourth studio album skillfully mixed into a 2018 gig in Lucca, Italy, where the song followed the Lizard Suite and preceded Indiscipline. As beautiful as Boz’s vocal is, he wasn’t happy singing it in concert, which may explain why it received relatively few live airings during Crimson's UK tour in 1971 and none at all the following year.

Spooling forward four decades, when it came to performing Crimson repertoire featuring Keith Tippett’s contributions, Jeremy Stacey, having no recourse to sheet music, had to sit and patiently transcribe the pianist’s work while listening to the relevant track. As can be easily heard, the result of his painstaking work has certainly paid off with this sensitive reading and highly personal interpretation of one of Crimson’s most touching ballads.

26 January 2026]]></description>
                <content:encoded><![CDATA[This special version of Islands by Alex Mundy features Boz Burrell’s original vocal from King Crimson's fourth studio album skillfully mixed into a 2018 gig in Lucca, Italy, where the song followed the Lizard Suite and preceded Indiscipline. As beautiful as Boz’s vocal is, he wasn’t happy singing it in concert, which may explain why it received relatively few live airings during Crimson's UK tour in 1971 and none at all the following year.

Spooling forward four decades, when it came to performing Crimson repertoire featuring Keith Tippett’s contributions, Jeremy Stacey, having no recourse to sheet music, had to sit and patiently transcribe the pianist’s work while listening to the relevant track. As can be easily heard, the result of his painstaking work has certainly paid off with this sensitive reading and highly personal interpretation of one of Crimson’s most touching ballads.

26 January 2026]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2824</guid>
                <pubDate>Fri, 23 Jan 2026 12:08:09 +0000</pubDate>
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