28th June 2006
There’s a real sense of movement in these soundscapes albeit of the slow kind. By the middle of Redemption Fripp has edged into a kind of luminous romanticism, etching and embellishing the swaying chords with chiming commentaries and swooning bass-end undertows.
The knell of a dissonant vibraphone heralds another transition into At The End Of Time through which flurries of notes take off in slow motion, forming murmurations as they circle and swoop towards silence.
After what could have been a definitive ending, Fripp’s rather brittle piano setting makes a rare appearance on the tour. During the brooding closer, Queer Space Harmonic Minor, a shivery line of notes ventures forth, which are then quickly followed by a brief but inconclusive run using a Pastorius-style phat bass. With neither approach viable, the end of the piece is ushered in with some stately piano chords that unambiguously signal the piece is over.
There’s a real sense of movement in these soundscapes albeit of the slow kind. By the middle of Redemption Fripp has edged into a kind of luminous romanticism, etching and embellishing the swaying chords with chiming commentaries and swooning bass-end undertows.
The knell of a dissonant vibraphone heralds another transition into At The End Of Time through which flurries of notes take off in slow motion, forming murmurations as they circle and swoop towards silence.
After what could have been a definitive ending, Fripp’s rather brittle piano setting makes a rare appearance on the tour. During the brooding closer, Queer Space Harmonic Minor, a shivery line of notes ventures forth, which are then quickly followed by a brief but inconclusive run using a Pastorius-style phat bass. With neither approach viable, the end of the piece is ushered in with some stately piano chords that unambiguously signal the piece is over.
