Given the long-form nature of soundscapes their impact can take a while to settle in upon the listener.
Whilst many attending the G3 shows reacted to the slow-moving waves and glacial developments with a both visceral dislike and disbelief that someone could sit and ‘do nothing’. One G3 fan, Gustav, having initially disliked the soundscapes portion offers a more balanced reaction “a few days later when I look back I think it was pretty good. But it didn’t belong in a rock concert. Everybody was expecting rock but it was definitely not rock. I felt sorry for Robert Fripp because I don’t think anyone liked it. At least his sound was very clear.”
If you listen carefully, just after Paradise and into the Bell and Breath transition, you can hear applause seeping in. While there’s only a small amount of conventional soloing from Robert on this gig (compared to the previous evening), during Paradise Lost the guitarist deploys some flute-like motifs that aren’t heard too often in the ‘scapes and Paradise Regained is just drop dead gorgeously transcendent.
Whilst many attending the G3 shows reacted to the slow-moving waves and glacial developments with a both visceral dislike and disbelief that someone could sit and ‘do nothing’. One G3 fan, Gustav, having initially disliked the soundscapes portion offers a more balanced reaction “a few days later when I look back I think it was pretty good. But it didn’t belong in a rock concert. Everybody was expecting rock but it was definitely not rock. I felt sorry for Robert Fripp because I don’t think anyone liked it. At least his sound was very clear.”
If you listen carefully, just after Paradise and into the Bell and Breath transition, you can hear applause seeping in. While there’s only a small amount of conventional soloing from Robert on this gig (compared to the previous evening), during Paradise Lost the guitarist deploys some flute-like motifs that aren’t heard too often in the ‘scapes and Paradise Regained is just drop dead gorgeously transcendent.
