Power Robert Green

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.

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. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion…

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. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion…