Sylvain Fripp

Fripp & Eno - Olympia, Paris, France - May 28, 1975 (2011) {3CD DGM 16/44 Official Digital Download}
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© 1975, 2011 Discipline Global Mobile / King Crimson / DGMlive.com
Rock / Electronic / Art Rock / Experimental Ambient / Progressive Rock

These show notes are written by long-standing Frippertronics expert and unofficial archivist, Allan Okada, whose help in the restoration of this concert has been invaluable. This historic recording documents an extremely rare and classic performance of a mysterious collaborative tour from two of the most creative and fascinating figures in rock. It is one of the most rewarding live recordings this writer has ever heard. For any fan of ‘No Pussyfooting’ or ‘Evening Star’, this live recording is of epic significance and thanks to the efforts of Alex Mundy, is now also comparable in audio quality, by synchronizing the most complete and best (by a mile) available live bootleg recording with Eno's stage tapes recently discovered.

David Sylvian & Robert Fripp - Damage (1994) {Virgin} [2001 Remixed Reissue]
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© 2001 Virgin Venture | 7243 8 11030 2 9 / CDVE958
Rock / Experimental Rock / Art Rock

Recorded on the "Road to Graceland '93" tour at London's Albert Hall. This followed the release of the album The First Day and is considered by many to be superior to its studio counterpart. Originally mixed by Robert Fripp and released in September 1994 it was remixed by David in 2000 and released the following year. The band features Trey Gunn and Michael Brook. Produced, engineered and mixed by David Sylvian at Samachi Sound NH, USA May 2001. New artwork by Shinro Ohtake. Every Colour You Are is now listed in the American way: Every Color You Are. David replaced Darshan with Jean The Birdman, as he believed that this track would fit in better with the rest.

Robert Fripp - Pie Jesu (1997) {Discipline Global Mobile DGM9704}
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© 1997 Robert Fripp / Discipline Global Mobile | DGM9704
Experimental / Art Rock / Ambient / Electro-Acoustic / Instrumental / Guitars

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.

Robert Fripp & The League Of Gentlemen - God Save The King (1985) {Caroline Records-EG EEGCD9}
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© 1985 Caroline Records / EG | EEGCD9
Art Rock / Progressive Rock / Instrumental

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.