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:: Posted by apisch on January 20, 2015

Just wondering why "One More Red Nightmare" had never been played live by King Crimson, until the #KC2014 Tour.  Any wisdom out there?

I very much so enjoyed the rendition in Chicago on 26 September, and cannot wait for a recording of that night to be made available.  #hinthint  #nudgenudge

- Tony
OMRN wasn't composed / finished until the band entered the studio to record Red.

Soundscapes For Sale
:: Posted by markvankempen on January 20, 2015

I would propose a separate RF website (but still within the portals of DGM) and a RF Soundscapes Cloud. But would it result in more Soundscape sales? Probably not.

RF is known as the guitarist from KC and the bloke who played with David Bowie. It would take more promotion as a solo artist for the soundscapes to become better known.

Compression should be the result of the player
:: Posted by acroyear on January 19, 2015

"it may be unsuitable for cars, or any other surrounding where the quiet passages are masked by ambient noise"

This is where a change in the technology is perhaps appropriate. The reaction to most music being played in cars or on earbuds as noise-drowners was to flatten the dynamics so one didnít have to hit the volume switch.

The REAL reaction should have been pushback from the music makers that the devices instead should have added the compression, as an end-user option, leaving the music alone so it could be adjusted, by the device, for the optimal playback for the environment it would be in.

Mind you, I suggested something like that back in 1997, but nobody ever listens to me. :)

Soundscapes favs?
:: Posted by acroyear on January 19, 2015

World Trade Center 2000 and the Big Chill shows of August 2005 tend to come to mind as my personal favs, as do some of the Estonia shows.

Live At The Orpheum
:: Posted by richardrogers on January 19, 2015

Iíve had two days to enjoy Live at The Orpheum, and itís been a truly revelatory and enjoyable listening experience. I was perplexed originally by the choosing to release a 40 minute ílive samplerí, rather than a complete gig. But I did understand the rationale behind it.

Having listened to the album though, I absolutely need to see this band if they play again. Even if last years wedding and my on-going chemo treatment have completely emptied my pockets, I will find a way to see this band.

The Islands era material is arguably the best itís ever sounded, One More Red Nightmareís live recording debut is impeccable and Starless is just incredible. All of the band sound as though theyíre at the top of their game, with Mel and Jakko making brilliant impressions. TCoL doesnít quite work, for me, but the first part is very, very good.

As for the much-discussed mastering, it is interesting, and it works, I think fantastically. Yes, it is íquieterí than most other recordings out there, but crank it up a bit and the range you can hear is perfect. You can decipher different drummers, there is space between each of the instruments, and it just sounds like a treat.

What they sound like playing Level 5 or VROOOM or LTiA (1 and 2) is just too tantalising a thought, and I need to hear this band.

No squash please!
:: Posted by bloggulator on January 19, 2015

To heighten my sense of anticipation comes word from fellow posters that the sound reflects the dynamics of the performance - unmolested by brick wall limiters and multi band compression algorithms. In other words, here we have a rarity amongst the standard "squashed-flat-as-the-proverbial-pancake" fare that has become the industry standard, and which marches in fashionable lockstep alongside its totalitarian partner in unmusicality - the "volume wars". As of yet, I havenít laid ears on "Orpheum" - but the prospect of an album where the music is permitted to breathe - is an exciting one indeed.

Yes, it may be unsuitable for cars, or any other surrounding where the quiet passages are masked by ambient noise. It may also not be suitable fare for the kitchen, elevators, stores, airports and restaurants. But is it possible to "listen" to music in those environments anyway? Perhaps people are confusing "hearing" with "listening"? Hearing music is unavoidable - the ears cannot be switched off - but the attention can be directed elsewhere. Listening, on the other hand, is a choice, where the attention is deliberately focussed on the music.

I go a theater to watch a movie, and get absorbed with the plot, the characters, the dynamics and development of the story, and its climax and conclusion. Theater staff request that you donít disturb other patrons; people universally donít appreciate being distracted by something else which interferes with their absorption of the movie. Itís the same with watching a football match, having a business meeting, eating dinner, or even having sex. So why has music being relegated, almost universally in todayís world, to "just another auditory input" fighting to compete with all the noise of everyday life? Does the fault lie with music, or perhaps because there is no visual input with the listening experience, we feel that just one sensory source (audio) is insufficient to mandate our undivided attention, when there is so much else going on in our overstimulating environment?

Just my 2 red kCents.

Nik G

Let the power fall
:: Posted by kingcrimson7 on January 19, 2015

I consider robert fripp unimaginable guitarist, the guitar can do what you want, the churchscape,
but you know fripp youíll think thereís a orchestra playing, We are dealing with someone who is also an inventor,  they do not understand that what they are hearing is a guitar, Robert thanks for your music, and with that I am satisfied.

Jesus is God, 

Peace be with you.

:: Posted by fishbonealice on January 19, 2015

íAinít there just one damn song that can make me break down and cryí sang the Dame. Iíd thought, cynical and ageing old bastard that I am, that I was becoming immune to the ability of music to induce the waterworks. But I have to confess to fighting back the tears in parts of Orpheum. I donít think itís simply that itís so masterfully conceived and played (and isnít it just) but that it encapsulates the uncompromising and steadfast drive for human excellence and beauty in an increasingly perplexing and alienating world. If KC can still pull that off after 40-odd years without cynicism or rancour then thereís hope for us all. Thank God for that.

:: Posted by JBeerLTIA on January 19, 2015

The soundscapes are of course circumstantial. It is one man performing an enveloping tidal wave of sound, and the performer is a human being. Feelings happen to make their way into a performance. There is no one good soundscape as there is one that "sucks". It is a wordless diary. And a beautiful sounding one at that. I will say with a particular mindset there will be difficulty listening to certain pieces. Around the time my grandmother died I happened to listen to A Blessing of Tears. I lost it. But looking on that now, I realize that that music made me truly feel. Soundscapes, if you let them in, can be quite therapeutic. The audience is already present, if only more people could use music as a tool of emotional extension, catharsis, and meditation.

:: Posted by snkzato1 on January 19, 2015

Listened to it this evening and absolutely loved it. I love that the album is not compressed to kingdom come like most modern albums. It has so much breathing room and space. I was reminded of albums of the 70s in how it was mixed. One More Red Nightmare brought me back to my show in Madison.

Canít wait for the vinyl to arrive at my doorstep. Cheers!

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