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Previous Item   November 27, 2006  Next Item SOUND  VISION WORD
    Diamond Hall    Nagoya, Aichi, Japan
 
CD Cover Photo

Notes
Originally this was scheduled to be the first of three ProjeKct Six dates supporting Porcupine Tree in Japan. When Adrian became unavailable, Robert did the old “turn a disadvantage into an advantage” routine, and tackled the gigs as a solo artist.

Continuing on from the highly successful series of concerts he performed in Estonia earlier in the year (available elsewhere on the site and released as part of the Churchscapes album), Fripp opens up his first night with the sombre ruminations of the Schizoid Fantasia. You’d be hard pressed to figure out quite how these slo-mo blocks of synthetic strings equate to the stomp-on-your-bonce heaviness of Schizoid Man.That’s because they don’t. But they contain a different kind of weight and gravity all their own; the weight of experience, of loss and of a gradual coming to terms with the accumulated gravity of what has been.

The Time Stands Still segment here provides the contrast; when those ascending notes come in at around the 2.37 mark it’s like a series of doves taking flight, erupting into the light. That this is done without recourse to any extraneous grandstanding somehow makes this music all the more appealing and uplifting.
 

Tracks
Disc Number 1
1.  Bell Threshold  [PREVIEW]  1.04
2.  Schizoid Fantasia  [PREVIEW]  10.06
3.  Time Stands Still  [PREVIEW]  13.17
4.  Queer Jazz Symmetrical  [PREVIEW]  6.21
5.  Final Bell Threshold  [PREVIEW]  3.52

All previews are MP3 192kbps

Personnel
Robert Fripp

 


Audio Source: Direct Hard Disc

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Fan Reviews

 out of 5 stars5 out of 5 stars5 out of 5 stars5 out of 5 stars5 out of 5 stars5 out of 5 stars6 out of 5 stars, Sun., Oct 18, 2009
Written by peter29
There is something different in this set of Soundscapes from Nagoya. Something quite different than in the following shows from Osaka and Tokyo. Even the preceding Churchscapes. Probably it is the mournful tone of Time Stands Still so close in mood to that of A Blessing Of Tears album. The beautiful guitar motive, placed at the end in the counterpoint brings this kind of emotions once again to my mind. Where do they come from in a strictly technical process of creating music on stage? Perhaps music is already emotional and both artist and listener are taking part in their recognition. Perhaps it is the matter of musical scales used by RF at a particular performance. Or something completely non musical, more divine, difficult to explain. The uneasiness of Final Bell Threshold brings associations with WTC performances. While Evensong from Osaka and Coda of Time Stands Still from Tokyo are peaceful and almost silent in their Moonchild  like guitar tones.

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