ROBERT FRIPP レコード& CD

Review: 
For the first time ever since the mid-80s, Robert Fripp's God Save The Queen is now avaialble on fresh vinyl once more. It was the second solo album from Fripp and is made up almost entirely of so-called 'Frippertronics,' which means much of the record was performed by improvisation. Under each track are solid drums and bass to get the grooves going and guitar loops for the five tracks were recorded live in concert during 1979. It's a real left turn of an album and one that can be as mesmerising as it can wild.

Review: Robert Fripp's pioneering work in electronic music reached its influential peak with the so-called Frippertronics tour of 1979. Creating compelling soundscapes out of tape loops might not seem revolutionary now, but it certainly was at the time, and out of the tour came this limited and highly prized album, perhaps the most sincere recorded document of Fripp's creative breakthrough. Now Let The Power Fall is being pressed on vinyl for the first time since its initial release on Editions EG in the 80s, and it comes with additional versions of '1984' never heard before.

Review: Back in the early-to-mid 1990s, Robert Fripp collaborated with numerous ambient house-era electronic artists, including the Orb (see the largely forgotten FFWD>> album) and The Grid, who invited the long-time Brian Eno collaborator to recording sessions back in 1992. While some of the latter material made it onto their '90s albums, much of Fripp's work - dreamy guitar textures, drone works and other electronic experiments -was left in their archive. Leviathan is based around these unissued recordings, with Dave Ball and Richard Norris adding their own new sounds to create a string of beautiful, meditative, and picturesque ambient compositions that sit somewhere between their own ambient works, Norris's recent modular electronic explorations, and the forementioned FFWD>> project.