Fripp Robert

A stunning album of looped Frippertronics and electronics, in the vein of the classic Fripp & Eno No Pussyfooting collaboration. Recorded live from a past life. Awash in the hypnotic looping structures of Robert Fripp's guitar soundscapes, Jeffrey Fayman adds an opulent cinematic brilliance to the proceedings, creating an intense and dramatic vision of a future rich in the heritage of Fripp's past. Nine years in the making, A Temple In The Clouds is a unique collaboration between one of rock's most important and influential guitarists and a contemporary cinematic composer. Fripp's contribution of two hours worth of treated guitar work (his trademark "Frippertronics") formed the basis for Fayman's layering of interwoven electronic soundscapes.

Alex "Stormy" Mundy and DGM present the unearthed treats from the murky, cavernous archives in the Stormy Monday series, some of which have been newly created from the archive of multi-track reels of tape that we just happen to have lying around the place. For 7 years, these have been available only as MP3s, and more recently FLAC, files, and are now available, for the first time on CD for the "landlubbers" among us.

The Robert Fripp String Quintet - The Bridge Between (1993) {Discipline Records DR 9303 2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 276 Mb | MP3 @320 -> 114 Mb
Full Artwork @ 300 dpi (jpg) -> 8 Mb | 5% repair rar
© 1993 Discipline Records | DR 9303 2
Art Rock / Progressive Rock / Instrumental / Guitars

Fusing the talents of Robert Fripp, Trey Gunn, and the California Guitar Trio, you'd be wrong to assume that The Bridge Between is a boring album of guitar aerobics for guitar enthusiasts. This is a wonderful piece of work. Its most dubious attribute is to sometimes descend into Sky (the Anglo-Australian outfit formed by John Williams, Francis Monkman etc) territory in its medieval harpsichord delivery ("Passacaglia," "Contrapunctus"). However "Kanon Power" and standouts "Bicycling to Afghanistan" and "Blockhead" are fretboard knitted excellence. Unfortunately, the latter two are separated by a five-minute downbeat – "Blue" – and the set is spoiled by a near-13-minute endgame "Threnody for Souls in Torment," which would be better placed elsewhere. None the less, you can always hit the stop button after "Passacaglia" or better, stick "Afghan" and "Blockhead" on repeat!

Robert Fripp & Brian Eno - No Pussyfooting (1973) {2CD Set, Discipline Global Mobile DGM5007 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 650 Mb | MP3 @320 -> 290 Mb
Full Artwork @ 300 dpi (jpg) -> 31 Mb | 5% repair rar | 24-bit remaster
© 1973, 2008 Opal / Discipline Global Mobile / RF | DGM5007
Rock / Electronic / Ambient / Experimental Ambient / Art Rock

At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. No Pussyfooting represents the duo's initial experiments with this system, a side each.

Bill Rieflin, Robert Fripp, Trey Gunn - The Repercussions Of Angelic Behavior (1999) {First World Music FWD 9906}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 383 Mb | MP3 @320 -> 127 Mb
Full Artwork @ 300 dpi (jpg) -> 6 Mb | 5% repair rar
© 1999 First World Music / Rieflin Fripp Gunn | FWD 9906
Rock / Progressive Rock / Experimental / Ambient / Electronica

This 1999 release precedes the excellent new recording from perennial prog-rockers King Crimson, titled The ConstruKction of Light. Yet with The Repercussions of Angelic Behavior, electric guitarist and Crimson founder Robert Fripp, touch bassist Trey Gunn and hard hitting drummer Bill Rieflin mesh gears for some truly energetic interplay! Spearheaded by Fripp’s signature style attack consisting of loops, EFX, and sinuous lead soloing along with a keen (if not legendary) sense of the dynamic, the trio pursues booming, driving rhythms and abstract themes amid fiery improvisation and otherworldly effects. Throughout, touch bassist Trey Gunn displays the synergy and intuitiveness exhibited on recent collaborations with Fripp in King Crimson and elsewhere.

This album is a report from Robert Fripp's guitar craft courses he gave in the 1980's, where he in a tight schedule disciplined the course attendees to approach their instrument from a new angle provided..

Robert Fripp - NYC, Exposure Rehearsals - 18 January, 1978 (2011) {DGM Official Digital Download}
FLAC (tracks) - 16bit/44kHz - Official Digital Download (dgmlive.com) -> 227 Mb | MP3 @320 -> 80 Mb | Artwork (pdf+jpg) | 5% repair rar
© 1978, 2011 Robert Fripp / Discipline Global Mobile / King Crimson / DGMlive.com
Soundscapes / Rock / Avant-Garde / Experimental / Ambient / Art Rock

After rehearsals in New York with John Wetton and Michael Walden in 1977 had finished, Robert Fripp continued to work on and refine material for what would become Exposure with Tony Levin and Jerry Marotta. Having worked with the pair previously with Peter Gabriel in both the studio and on stage the previous year, there’s an easy fluency between the players here. That could of course also be the result of the material here being more formed and developed than the previous Exposure rehearsals. While some of these pieces are familiar we get to hear them in either their raw state such as the new-to-these-ears Slow Stomp, or, as in the case of You Burn Me Up, moving towards a finished form that’s instantly recognisable.

Robert Fripp - The Gates Of Paradise (1997) {DGM 9608}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 317 Mb | MP3 @320 -> 140 Mb
Full Artwork @ 300 dpi (jpg) -> 8 Mb | 5% repair rar
© 1997 Robert Fripp / Discipline Global Mobile | DGM 9608
Soundscapes / Electronic / Abstract / Experimental / Ambient / Electro-Acoustic / Experimental Ambient

Fripp continues his Soundscape series with this typically evocative piece. As with his other work of this period, the theme touches on devotional and spiritual matters, with Fripp painting challenging and solitary impressions with "Frippertronic" brushstrokes. The new age set will most likely balk at his more dissonant passages, but King Crimson fans and those with a taste for the unusual will delight in his ascetic excess.