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        <title><![CDATA[DGMLive Music]]></title>
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            <url>https://dgmlive.com/img/favicons/favicon-32x32.png</url>
            <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>2026-05-14 08:52:16</pubDate>

                    <item>
                <title><![CDATA[New music available: You Burn Me Up I&#039;m A Cigarette (Incl. Rhona)]]></title>
                <link>https://dgmlive.com/tour-dates/2844</link>
                <description><![CDATA[To celebrate Robert Fripp's 80th Birthday DGM are curating a Fripp@80 series, 
with weekly digital releases throughout the year drawn from his extensive solo and collaborations work from his wide-ranging and innovative career. Expect new insights and hidden gems as Robert Fripp and David Singleton add commentaries to many of the tracks.]]></description>
                <content:encoded><![CDATA[To celebrate Robert Fripp's 80th Birthday DGM are curating a Fripp@80 series, 
with weekly digital releases throughout the year drawn from his extensive solo and collaborations work from his wide-ranging and innovative career. Expect new insights and hidden gems as Robert Fripp and David Singleton add commentaries to many of the tracks.]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2844</guid>
                <pubDate>Thu, 14 May 2026 08:52:16 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Evening Star]]></title>
                <link>https://dgmlive.com/tour-dates/2843</link>
                <description><![CDATA[Fripp & Eno's timeless electronic music classic Evening Star.

In 1975 with King Crimson on hiatus (as it would remain until 1980), Robert Fripp's appearances on album or on stage were rare. When he did appear, it was with Brian Eno. Circumstances following an accident in January 1975 led to Eno formulating the idea of ambient music as detailed in the notes to Discreet Music - released in December 1975. The title track of Discreet Music was initially conceived as a backing loop for Fripp to play over at a series of concerts. These concerts took place in Spain, France and England in late May 1975. An audio restored edition of the legendary Paris concert bootlegs will be issued on CD as part of this series of releases.
 
A short section from that concert, reversed, provided the basic track for Wind on Water - the opening piece from the second Fripp and Eno album Evening Star. The title track that follows features a Fripp solo that is regarded by fans as one of his most beautiful performances. The short, pretty loop called Evensong and Wind on Wind an extract from Discreet Music formed the remainder of the album's first half. Perhaps more pastoral than truly ambient, and in part indicative of the type of music that Eno would feature on his later Music for Films albums this was a firm step away from the long form pieces that had made up No Pussyfooting. As if to balance the equation, the second side comprised a single piece An Index of Metals. Running to almost 29 minutes it is almost the antithesis of the warm inviting music on the album’s first half. Almost forty years on from its original recording, the sense of unease conveyed by the piece remains intact.
 
With just two albums recorded at various point over a four year period, Fripp & Eno had established a rudimentary route map of some of music's future possibilities. That they still sound so fresh and alive with potential is testament to the strength of the duo's original ideas. Fripp & Eno would, individually and collectively, make significant recordings of electronic music in the coming decades, but many, many others would participate in the vast expansion of interest in electronic music that followed.
 
As starter points for a vast number of musicians, these albums are unparalleled, their influence only beginning to be fully understood and appreciated. Brian Eno is credited with the claim that everyone who originally bought a Velvet Underground album subsequently formed a band. It's no less valid to suggest that many of those involved in electronic music might not have been but for No Pussyfooting and Evening Star.

2008 Remaster]]></description>
                <content:encoded><![CDATA[Fripp & Eno's timeless electronic music classic Evening Star.

In 1975 with King Crimson on hiatus (as it would remain until 1980), Robert Fripp's appearances on album or on stage were rare. When he did appear, it was with Brian Eno. Circumstances following an accident in January 1975 led to Eno formulating the idea of ambient music as detailed in the notes to Discreet Music - released in December 1975. The title track of Discreet Music was initially conceived as a backing loop for Fripp to play over at a series of concerts. These concerts took place in Spain, France and England in late May 1975. An audio restored edition of the legendary Paris concert bootlegs will be issued on CD as part of this series of releases.
 
A short section from that concert, reversed, provided the basic track for Wind on Water - the opening piece from the second Fripp and Eno album Evening Star. The title track that follows features a Fripp solo that is regarded by fans as one of his most beautiful performances. The short, pretty loop called Evensong and Wind on Wind an extract from Discreet Music formed the remainder of the album's first half. Perhaps more pastoral than truly ambient, and in part indicative of the type of music that Eno would feature on his later Music for Films albums this was a firm step away from the long form pieces that had made up No Pussyfooting. As if to balance the equation, the second side comprised a single piece An Index of Metals. Running to almost 29 minutes it is almost the antithesis of the warm inviting music on the album’s first half. Almost forty years on from its original recording, the sense of unease conveyed by the piece remains intact.
 
With just two albums recorded at various point over a four year period, Fripp & Eno had established a rudimentary route map of some of music's future possibilities. That they still sound so fresh and alive with potential is testament to the strength of the duo's original ideas. Fripp & Eno would, individually and collectively, make significant recordings of electronic music in the coming decades, but many, many others would participate in the vast expansion of interest in electronic music that followed.
 
As starter points for a vast number of musicians, these albums are unparalleled, their influence only beginning to be fully understood and appreciated. Brian Eno is credited with the claim that everyone who originally bought a Velvet Underground album subsequently formed a band. It's no less valid to suggest that many of those involved in electronic music might not have been but for No Pussyfooting and Evening Star.

2008 Remaster]]></content:encoded>
                <author><![CDATA[Fripp &amp; Eno]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2843</guid>
                <pubDate>Mon, 27 Apr 2026 16:34:22 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: 21st Century Schizoid Man Dub]]></title>
                <link>https://dgmlive.com/tour-dates/2842</link>
                <description><![CDATA[It is sometimes said that a band is only as good as its drummer - and in Michael Giles, King Crimson had one of the very best. However, this special mix by DGM’s Alex Mundy mutes Michael’s propulsive drumming for two-thirds of KC 69’s signature track, 21st Century Schizoid Man.
This has allowed the spotlight to fall on Giles’ three colleagues, highlighting just how tight they are as they hurtle through the piece, driven by Lake’s running bass lines. KC enthusiasts already know that the mix of surgical precision and raw power in the trio's playing is outstanding, but to hear it with such clarity is a real bonus.

When Giles’ drums return at 5.15, the g-force style acceleration in dramatic terms is palpable. Alex explains that this mix was taken from the 8-track master of Schizoid Man. "I have tried to separate out the parts to make them stand out a bit, bringing in the drums at the end section for this dub version, partly due to the fact that on the crescendo, there is a drum overdub on the same track as the bass."

27 April 2026

Flac 24/48]]></description>
                <content:encoded><![CDATA[It is sometimes said that a band is only as good as its drummer - and in Michael Giles, King Crimson had one of the very best. However, this special mix by DGM’s Alex Mundy mutes Michael’s propulsive drumming for two-thirds of KC 69’s signature track, 21st Century Schizoid Man.
This has allowed the spotlight to fall on Giles’ three colleagues, highlighting just how tight they are as they hurtle through the piece, driven by Lake’s running bass lines. KC enthusiasts already know that the mix of surgical precision and raw power in the trio's playing is outstanding, but to hear it with such clarity is a real bonus.

When Giles’ drums return at 5.15, the g-force style acceleration in dramatic terms is palpable. Alex explains that this mix was taken from the 8-track master of Schizoid Man. "I have tried to separate out the parts to make them stand out a bit, bringing in the drums at the end section for this dub version, partly due to the fact that on the crescendo, there is a drum overdub on the same track as the bass."

27 April 2026

Flac 24/48]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2842</guid>
                <pubDate>Sat, 25 Apr 2026 16:06:41 +0000</pubDate>
            </item>
                    <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>
            </item>
                    <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>
            </item>
                    <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>
            </item>
                    <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>
            </item>
                    <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>
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