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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>2026-05-29 15:27:45</pubDate>

                    <item>
                <title><![CDATA[New music available: The Heavenly Music Corporation (edit)]]></title>
                <link>https://dgmlive.com/tour-dates/2850</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/2850</guid>
                <pubDate>Fri, 29 May 2026 15:27:45 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: The Bridge Between]]></title>
                <link>https://dgmlive.com/tour-dates/2849</link>
                <description><![CDATA[The Bridge Between, demonstrates the unique fusion of performing complex, chamber-like compositions that blur the lines between classical, progressive rock, and avant-garde music. 
This ensemble mixed Fripp’s distinctive guitar techniques, including Soundscapes and Frippertronics, with classical and experimental string playing.

Long deleted from the DGM catalogue, now available on the site for the first time.]]></description>
                <content:encoded><![CDATA[The Bridge Between, demonstrates the unique fusion of performing complex, chamber-like compositions that blur the lines between classical, progressive rock, and avant-garde music. 
This ensemble mixed Fripp’s distinctive guitar techniques, including Soundscapes and Frippertronics, with classical and experimental string playing.

Long deleted from the DGM catalogue, now available on the site for the first time.]]></content:encoded>
                <author><![CDATA[The Robert Fripp String Quintet]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2849</guid>
                <pubDate>Fri, 22 May 2026 11:05:19 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Hope]]></title>
                <link>https://dgmlive.com/tour-dates/2848</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/2848</guid>
                <pubDate>Thu, 21 May 2026 15:03:41 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Why Don&#039;t You Just Drop In]]></title>
                <link>https://dgmlive.com/tour-dates/2847</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/2847</guid>
                <pubDate>Thu, 21 May 2026 11:07:35 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Frame By Frame (Instrumental)]]></title>
                <link>https://dgmlive.com/tour-dates/2846</link>
                <description><![CDATA[Alex Mundy has come up with an instrumental mix of Frame By Frame performed in 2019. As with other such mixes, it takes the listener under the hood of the song that helped to define 1980s King Crimson. This reimagining of the song comes with a percussion-based introduction devised by Gavin Harrison that evokes elements of Steve Reich’s seminal 1970/1971 composition, Drumming. Given that Belew and Fripp met up briefly at a New York performance in early 1980 of Reich’s masterpiece, Music For 18 Musicians, this ingenious introduction feels like an acknowledgement of Reich’s influence on the conceptual underpinning of the Discipline group. As the song progresses, we can trace its trickling course as it tumbles through the piece, adding yet another contrapuntal layer effective during the phasing and double-timed arpeggio sections.  

25 May 2026


Flac 24/48]]></description>
                <content:encoded><![CDATA[Alex Mundy has come up with an instrumental mix of Frame By Frame performed in 2019. As with other such mixes, it takes the listener under the hood of the song that helped to define 1980s King Crimson. This reimagining of the song comes with a percussion-based introduction devised by Gavin Harrison that evokes elements of Steve Reich’s seminal 1970/1971 composition, Drumming. Given that Belew and Fripp met up briefly at a New York performance in early 1980 of Reich’s masterpiece, Music For 18 Musicians, this ingenious introduction feels like an acknowledgement of Reich’s influence on the conceptual underpinning of the Discipline group. As the song progresses, we can trace its trickling course as it tumbles through the piece, adding yet another contrapuntal layer effective during the phasing and double-timed arpeggio sections.  

25 May 2026


Flac 24/48]]></content:encoded>
                <author><![CDATA[King Crimson]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2846</guid>
                <pubDate>Thu, 21 May 2026 10:06:51 +0000</pubDate>
            </item>
                    <item>
                <title><![CDATA[New music available: Hit Factory New York]]></title>
                <link>https://dgmlive.com/tour-dates/2845</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 1st & 3rd February 1978, they have been bought together here for the first time. Robert is joined by Tony Levin, Narada Michael Walden, and Jerry Marotta.

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 1st & 3rd February 1978, they have been bought together here for the first time. Robert is joined by Tony Levin, Narada Michael Walden, and Jerry Marotta.

Flac 24/48]]></content:encoded>
                <author><![CDATA[Robert Fripp]]></author>
                <guid isPermaLink="true">https://dgmlive.com/tour-dates/2845</guid>
                <pubDate>Fri, 15 May 2026 15:54:10 +0000</pubDate>
            </item>
                    <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>
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