Robert Fripp - Radiophonics (Robert Fripp) -- Discipline Global Mobile Shopping Cart -- Radiophonics

<H1>Robert Fripp - Radiophonics -- Discipline Global Mobile Shopping Cart</H1> Live recordings from the Goethe Institute, Buenos Aires. <IMG SRC="https://store.nexternal.com/dgm/images/radioph.gif" ALIGN=right ALT="Robert Fripp - Radiophonics" NAME="Robert Fripp - Radiophonics" BORDER=0 HSPACE=10> <table cellspacing=2 cellpadding=0 border=0> <tr valign=top> <td colspan=3> Live recordings from the Goethe Institute, Buenos Aires. Brave new worlds for the guitar are created using a sophisticated system of delays and effects. This is improvisation that challenges performer and audience.   Tracks: 1. Radiophonic I <a href="http://www.disciplineglobalmobile.com/cat/audiolnk/1radio.ram">Real Audio</a> 2. Radiophonic II Buenos Aires Suite 3. (i) Atmosphere 4. (ii) Elegy (For Mothers And Children) 5. (iii) Streets 6. (iv) Sky </td> </tr> <tr> <td colspan=3> Read more about <a href="http://www.disciplineglobalmobile.com/dat/soundsc.shtml" target="_top">Soundscapes</a>. The Personnel: Possible Productions: promoter & facilitator Robert Fripp: guitarist Marcello O'Reilly: stage manager Carlos Pulido: assistant FOH sound engineer Andres Jankowski: foyer facilitation & support Uki Goni: translation John Sinks: FOH sound, sound technician Los Gauchos Alemanes: Hernan Nunez, Fernando Kabusacki, Steve Ball The Guitar Craft Circle of Argentina: promotional & performance support Digital editor and mastering engineer: David Singleton. A Ton Prob Production by Robert Fripp & DavidSingleton for Discipline Global Mobile. Cover picture: 'Atmospheres' by John Miller. Sleeve design and artwork: Bill Smith Studio. <hr size=1> <center>- Reviews -</center> You'll be hard pressed to find even a recognisable guitar sound as Fripp veers further from both popular and pregressive music vernacular into a world that shares a sonic language with the avant-gards.... Billboard Musically, the improvised concept has become more sombre, unsettling, sometimes disturbingly dismal.... Rock 'n' Reel I can't claim to pay much attention when they're playing, so I can't really compare them to his otherrecords of soundscapes, except to say that this has more low rumbling than most.... Animal Review <hr size=1> <center>- Robert's Comments -</center> This album is not what we expected it to be, neither is it otherwise. All the recordings are taken from live Soundscape performances in 1995, from two venues - The Goethe Institute of Buenos Aires during the week beginning on the evening of Monday 3rd. April and continuing through to Sunday 9th. April, 1995, and Washington Square Church on ... and ... The earlier Soundscape CDs have presented the music as live performances, as a series of improvisations and responses to the moment. On this album we have compiled and edited the soundscapes, using them as musical materials fashioned in real time. So, although the music is taken from live performances, it would not have sounded like this in any one performance - although it might have done. I am surprised on listening, while compiling this album with David Singleton, to find that the mourning for my Mother was still ongoing. In that sense, this is a companion album to "A Blessing of Tears" although rather different in character. "A Blessing of Tears" is a personal eulogy for my dear Mother, "That Which Passes" is a series of reflections on mortality and dying. Strangely, mysteriously, soundscapes have the capacity to be true to the moment in which they appear. I listen to them, and they inform me. I owe particular debts to David Singleton, whose faith in what is possible for soundscapes has lead him into long days and nights to reveal the spaces between the notes; and to John Miller, whose pictures have lead me forward into finding ways of representing in music what he has put into colour. We seem to share the same concerns, and I am exceptionally fortunate to work with both of them. These six improvised Soundscapes are drawn from a series of twelve performances in the four cities of Buenos Aires, La Plata, Cordoba, Rosario and Mar La Plata, over a period of ten days during June 1994. Soundscapes are a continuation and development of Frippertronics, the music of my solo guitar work based on delay, repetition and hazard. This approach was first introduced to me by Brian Eno, directly and without explanation, in September 1972. It subsequently became a vehicle for many solo performances in a variety of spaces throughout Europe and North America, beginning at The Kitchen in New York in February 1978 and ending at Easter 1983 in Toronto. So, these Soundscape performances in Argentina are my first solo concerts for over eleven years. The performances included two sets by Los Gauchos Allemands, a guitar trio based in Buenos Aires, and the audience asking questions. Soundscapes provide a vehicle for my most immediate and personal musical work, which is varied both in performance and recording whether as collaborator, contributor or producer. Soundscapes are improvised and largely governed by the time, place, audience and the performer's response to them. If the reader protests that it is obvious and self-evident that this must be so, that performances unfold in the moment of their unfolding, I can only reply that most musical situations of my experience pay little attention to the time, place and personae of the musical event. 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