The celestial voices that emerge from the preceding ominous clouds of Turmoil In Paradise herald a momentary calm before yet more drones move in like some vast hulking air fleet casting an ever-spreading shadow on everything below. At this point we can hear some tentative bass notes from Billy Sheehan trying to cut a swathe through the thick clouds of brooding soundscapes.
When the processed strains of Distant Wails In Paradise Lost grow faint, aside from the closing bells, we are left with the remaining drone and rumble, something like a machine still running. For reasons which aren’t immediately obvious to this listener, it’s an oddly calming and beautiful moment that moves imperceptibly from aftermath to resolution.
Verena, who was at the show was not at all put off by the opening ‘scapes. “First was ROBERT FRIPP, he did some kind of "Strange Beautiful Music" about 20 Minutes with different guitar synthesizer effects, for me a new way of Guitar effect experience but very good, and I have to say it again: MUSIC IS NOT ONLY TECHNIQUE- that was real music was Robert was doing!
You can say that again, Verena.
When the processed strains of Distant Wails In Paradise Lost grow faint, aside from the closing bells, we are left with the remaining drone and rumble, something like a machine still running. For reasons which aren’t immediately obvious to this listener, it’s an oddly calming and beautiful moment that moves imperceptibly from aftermath to resolution.
Verena, who was at the show was not at all put off by the opening ‘scapes. “First was ROBERT FRIPP, he did some kind of "Strange Beautiful Music" about 20 Minutes with different guitar synthesizer effects, for me a new way of Guitar effect experience but very good, and I have to say it again: MUSIC IS NOT ONLY TECHNIQUE- that was real music was Robert was doing!
You can say that again, Verena.
