Talking to Guitar Player in 1986 when asked about the origins of Frippertronics, Fripp said "I began working on it on my own in June and July 1977, when I was living in New York. Frippertronics as such went public for the first time in February 1978 at The Kitchen [a New York arts and performance gallery], where I was giving a solo concert. I needed a name for it, so I came up with "Frippertronics" because it was silly."
But there's nothing silly about this particular performance. Loop III and Solo II has some extraordinary sharp edges as Fripp hacks and scratches the music into life. One could almost hear it as a disturbed and distorted blues. This is Fripp on astonishing form, ripping and shredding, sending ominous sparks flying in every direction. The distant roar of approval heard at the end of this rollercoster ride of a piece is in its own way hair-raising stuff.
After the storm, there's the calm of Loop IV and Solo III and the concluding track. Yet even here, things are still smoking, as though the incendiary energies previously generated weren't quite extinguished. An astonishing performance.
But there's nothing silly about this particular performance. Loop III and Solo II has some extraordinary sharp edges as Fripp hacks and scratches the music into life. One could almost hear it as a disturbed and distorted blues. This is Fripp on astonishing form, ripping and shredding, sending ominous sparks flying in every direction. The distant roar of approval heard at the end of this rollercoster ride of a piece is in its own way hair-raising stuff.
After the storm, there's the calm of Loop IV and Solo III and the concluding track. Yet even here, things are still smoking, as though the incendiary energies previously generated weren't quite extinguished. An astonishing performance.
