Fripp

When Robert Fripp’s Music For Quiet Moments started to appear with relatively little fanfare in May 2020, as a series of weekly uploads to YouTube and streaming services, their overall effect was one of balm. Moving through the digital ether, Fripp’s ambient soundscapes slowly drifted their way through a collective psychological environment grappling with the uncertainty of pandemic times…

In May 2020, with much of the world in lockdown and reeling from the consequences of the Covid-19 pandemic, Robert Fripp began uploading the first of 52 individual Soundscapes on his YouTube channel, streaming platforms, and DGMLive. 

EntitledMusic For Quiet Moments and appearing once a week, these pieces created a space for reflection, offering a means of pausing from the day-to-day concerns and to provide a point of calm and perhaps, a sense of hope, in such troubled times.

New collaborative album from electronic duo The Grid (aka Richard Norris and Dave Ball) and Robert Fripp. Combining Fripp Soundscapes with synth, drums, programming and effects by The Grid.

The long-awaited 32-disc boxed set of Robert Fripp in the studio and in concert 1977 - 1983 will be released on 27th May 2022. The set will feature many previously unreleased tracks, outtakes and rarities as well as a number of tracks appearing on CD for the first time. The largest in the series, Exposures is the ninth boxset release collecting King Crimson / Robert Fripp material from 1969 to 2008.

Live Frippertronics performances taken from recordings in New York City between July & August 1981. Mixed and Produced by David Singleton from audio restored by Alex R. Mundy. Vinyl cut by Jason Mitchell at LOUD mastering. The finest example of Frippertronics in performance. After completing the first round of concerts with a revived King Crimson starting in May 1981, Fripp headed over to the USA where he began a week-long residency at Washington Square United Methodist Church on 135 W Fourth Street in New York. Built in 1860, the church had historically been home to many congregations but in more recent years had become the venue for groups such as the Black Panthers, Gay Men's Health Crisis and numerous arts organisations.

Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China - Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album…

On Andy Summers and Robert Fripp's second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair - at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity. For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in "Maquillage"), without making them seem like an obvious attempt to impress fellow musicians…

Live Frippertronics performances taken from recordings in New York City between July & August 1981. Mixed and Produced by David Singleton from audio restored by Alex R. Mundy. Vinyl cut by Jason Mitchell at LOUD mastering. The finest example of Frippertronics in performance. After completing the first round of concerts with a revived King Crimson starting in May 1981, Fripp headed over to the USA where he began a week-long residency at Washington Square United Methodist Church on 135 W Fourth Street in New York. Built in 1860, the church had historically been home to many congregations but in more recent years had become the venue for groups such as the Black Panthers, Gay Men's Health Crisis and numerous arts organisations.

Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China - Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album…

On Andy Summers and Robert Fripp's second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair - at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity. For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in "Maquillage"), without making them seem like an obvious attempt to impress fellow musicians…