Travis & Fripp has proved to be one of the most enduring of Robert Fripp’s many duo projects – all the more remarkable really, given that both musicians are consistently involved in other projects; for Fripp, a renewed King Crimson has been a primary musical enterprise since 2014, while Theo Travis has, in recent years recorded and toured with David Sylvian, Steven Wilson, continues as a member of Soft Machine, runs his own band Double Talk & still somehow, finds time for an ongoing commitment to teaching a next generation of musicians.
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.
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…
God Save the King is actually a split release and/or a Robert Fripp compilation, depending on how you look at it. In 1980, Robert Fripp released something of a split disc himself, called God Save the Queen/Under Heavy Manners, consisting of a side of Frippertronics and a side of Discotronics, the latter being Frippertronics with a "dance-oriented" (according to Fripp) rhythm section. Also in 1980, Fripp formed a new group, borrowing the name from his early-'60s band, the League of Gentlemen.
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.
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..
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…
Robert Fripp's solo debut, originally released in 1979, Exposure is not only an important release historically in terms of influencing much music to come, including post-punk popular groups of today, it also is a who's who of guest musicians from Daryl Hall to Peter Gabriel, Peter Hammill, Terre Roche, Brian Eno, Tony Levin, Phil Collins, Narada Michael Walden, Jerry Marotta, Barry Andrews and Sid McGinnis. This standard edition is being released as a two disc set, with 24-page booklet. Remastered with many previously unreleased tracks. The jewel case version is being released simultaneously with a limited edition gatefold deluxe version which will appeal to the large base of serious Fripp collectors. Only packaging differs between the two versions tracks remain the same.
Robert Fripp's beautiful but brief compilation, Pie Jesu, features material from A Blessing of Tears and The Gates of Paradise; the CD acts as an appealing, accessible introduction to his contemporary Frippertronics, which Fripp appropriately terms "Soundscapes." The music, created entirely from guitar and effects, including loops, delay, and repetition, is easy to consume and digest – a very comfortable, tranquil, flowing sound, somewhat different from his '70s Frippertronics excursions. While some critics have inappropriately termed/described his Soundscapes series as new age music, it is far from it. Fripp has been experimenting with these sounds through a variety of structures and presentations for more than 25 years.