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5 of 5 people found the following review helpful:
5.0 out of 5 stars
The Beginning of Soundscapes!!!, April 26, 2006
This review is from: 1999 Soundscapes - Live in Argentina (Audio CD)
Robert Fripp's "1999" CD from 1994 was released during a time when the legendary guitarist was making a major comeback. King Crimson had returned after a decade-long absence and Fripp re-emerged with his first solo performances in almost as long. 1994 also marked the birth of Fripp's 'soundscaping' technique which was and still is an extension of his 'Frippertronic' experiments of the 1970's and '80's.
Instead of using two tape machines as had been the norm with 'Frippertronics', Soundscapes utilized digital technology and guitar-synthesizers to create and loop the endless mass of sound created by Fripp from his guitar. The idea was not a new one but the sound definitely was.
Unlike the later Soundscape albums which consist mostly of layered calm atmospheric sounds, "1999" mostly consists of giant crescendo-like pieces that begin from pure silence and slowly develop into harsh and sometimes abrasive frightening walls of sound. The opening two pieces (1999 and 2000) follow this manner and are quite unsettling and chilling. "2001" is a more calmer piece but still has the same principle as the first two tracks. "Interlude" is an edited piece from a longer performance and is quite experimental with its sounds which ping-pong between the speakers. Finally, to close the album, "2002" points the direction in which Fripp would eventually take his Soundscapes as it consists of beautiful ambient layered sounds.
"1999" has become somewhat difficult to find in recent years but if your a fan of King Crimson, Robert Fripp and Soundscapes, this CD is definitely a must. This was the beginning of a new Fripp trademark which continues to this day and displays him at his most experimental and most unpredictable.
Recommended!!!
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
Good performances., May 17, 2005
This review is from: 1999 Soundscapes - Live in Argentina (Audio CD)
"1999" is, if I'm not mistaken, the first album by Robert Fripp featuring solely his soundscapes performances (differentiated from Frippertronics as being a wholly digital experience whereas Frippertronics relied on tape loops). Essentially, it is Fripp, his guitar, a series of effects and looping equipment. It is not music that is for everyone-- for those familiar with Fripp's guitar work with King Crimson, this is not the sort of jaw dropping stuff he played with that band, instead it is similar to his work with Brian Eno-- in fact ambient music. In addition, it is wholly improvised, so all structure, implied or not, is spontanteous. And without such things as concrete melody, this music can often be extremely difficult to deal with.
Having stated that, "1999"-- five unedited live recordings from 1994 is a decent example of the form (though not the best-- I've reserve that for "A Blessing of Tears"). The music moves between dark and haunting ("1999"), horrific ("2000"), achingly beautiful ("2001"), meandering (the appropriately titled and fortunately only edited track on the record, "Interlude"), and gentle ("2002"). Remarkably, the only track I really dislike is the "Interlude", which comes closest to sounding like a guitar, the rest has an orchestral feel to it, the pure amount of noise generated at a minimum is pretty impressive.
If you're new to soundscapes, start with the easier to find "A Blessing of Tears", but if you're familiar with this work, track this one down, it is an interesting and rewarding release.
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6 of 7 people found the following review helpful:
4.0 out of 5 stars
Not 'easy' listening, April 4, 2000
This review is from: 1999 Soundscapes - Live in Argentina (Audio CD)
This set of works, recorded in concerts given by Fripp in Argentina, are a real challenge to most listeners expecting the sort of ambience found on his collaborations with Brian Eno, or his loop-based 'Frippertronics' experiments of the 1970s and 80s. This has less in common with conventional guitar music than it does with dense, dissonant, and tense sound-mass works by composers such as Penderecki or Ligeti. It's space music, perhaps...but not a tranquil space; rather, this evokes something of a musical setting for the primordial ylem, with all of the chaos and cosmic tension of that early period of the universe. Not for unadventurous ears. Docked one star for the ending of the CD, which sounds as if the work in progress was just snip-edited, where there was much more to go on it. If this is how the piece stopped, I would be very surprised; it sounds more like an editing mistake.
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