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Copies, Coincidences and Plagiarism
:: Posted by Antonion on February 17, 2015

When I first listened to Twenty-Two, by the Vicar, I thought somehow another YouTube window on my PC was playing Penguin Cafe Orchestraís Scherzo and Trio, from the Union Cafe...


Fripp-ing search
:: Posted by jeremykeens on February 17, 2015

Great to see soundscape sunday - these pieces of music deserve to be heard. I have reviewed a few (nice to see my name below the current feature).

It emphasises the need for a frippertronic/soundscpae filter in the search engine. Fripp (not surprisingly) throws up KC, ProjeKCts etc. The wealth of wonderful soundscape concerts and series is hard to find. My personal spreadsheet highlights the next ones I want to buy (nerdy - star rated, cost, length - all there), but for people new to the delights, a specific search would help.

And if you are reading this - Hello Dave at Pure Ambience. Here is another antipodean dart at your great luck in going to 3 (yes 3) concerts in the Europe tour. AAaaRGH.There must be at least some DGM downloads. PLEASE

(and anyone looking for some great guitar, ambient, app music, Daveís back (and forward) catalogue is well worth a look.)


Exposure
:: Posted by kingcrimson7 on February 16, 2015

A work of Mr. Robert fripp, awesome, breathless shows the 21 century in the heart of Mr. fripp, an advanced music of his time, exposure is an example of someone who knows music,a soft heart for God, trust in Jesus.


Song contest
:: Posted by Bakullama on February 16, 2015

What the Vicar is doing here is just awesome! I suspected he was pretty cool, whoever he is! I know a girl who really wants in... Female vocalists OK?


Recent news
:: Posted by fhc339835 on February 15, 2015

1st  I very like the idea of the soundscape sunday. Maybe this is supporting the proselytization of the ubiquitous dgmlive visitor devoted to the crimson king, but not to the scapes. I made a remark earlier that I got first infected by the scapes by downloading the hot tickles in 2006 and making my own cd of it, cautiously approaching the emotional music.

2nd Reading a review of King Crimson 2014 live performances and Van der Graaf Generator 2013 performances, both issued in 2015 on CD, is very special for me. When I acquired the taste for such strange brew of music back in the middle of the 80íes, I never dared to hope to see any of my musical heroes back in action. The wonder of KC of the 90íes and the í00s has its continuation in 2015 - looking forward to see the septett in Paris. A very dedicated Peter Hammill follower since my teenage years (thus having been a weird young boy lost in old menís music, why not kajagoogoo and duran duran?) , never believed seeing Van der Graaf back to action. They are better as ever having ear-witnessed and eye-witnessed recently in Erfurt, and in Nuremberg some years ago.

3rd Great to read here about Treyís Peter Gabriel music adventures with Jerry and the boys from the band. The gig in Wetzikon on Friday was deeply moving, the audience responding in awe-stricken silence was just carried away by the music.  Lovely characters each one in the band.


derivative songs
:: Posted by Tom239 on February 15, 2015

The Eagles supported Jethro Tull on a tour in the early 1970s when the song We Used To Know appeared in Tullís setlists. Several years later, Hotel California used a chord sequence akin to one in the Tull song. Ian Anderson was gracious when asked about this in an interview; he said, "... itís not plagiarism. Itís just the same chord sequence. Itís in a different time signature, different key, different context. And itís a very, very fine song that they wrote, so I canít feel anything other than a sense of happiness for their sake."


soundscapes
:: Posted by AdrianReynolds on February 15, 2015

Iím listening to the Fripp/Keneally piece at the moment. Again, Iím taken into a space that no other music seems to be able to open up.

Yearning is one of the principle qualities I associate with Frippís playing. And I connect it with his interest in Gurdjieff, as well as experiences of my own - a desire to connect with something greater, say, which we can all catch glimpses of at times. Thereís melancholy there too, perhaps an audible recognition of the fact that we mostly fail to reach that place. And sometimes joy, when - if only for a moment - the gates of paradise open up once more.

Those same emotions, the same states, arise pretty much regardless of the context of Frippís playing. Even with Let The Power Fall, perhaps the most minimal of his collections in this vein, there is a sense of transcendence experienced, remembered, or approaching. That album also provided a great soundtrack for a friend who borrowed the CD to play to children in a dance workshop she was doing with them.

Iím a technical numptie, downloads not my preferred way of collecting music. At some point though, I will - when I can afford to do so, and probably with tech assistance - gather up the soundscape-based pieces available on this site, and put them onto CDs to enjoy in ways that I prefer.

This is beautiful, potent music that holds a special place in my heart. I hope it finds a larger audience in the world. My suspicion is that the proggy spectre of the Crimson name gets in the way of that for many. Hereís to getting beyond that.






Best yet
:: Posted by deagan1 on February 15, 2015

Dave Stafford really nails it in his Crimson/Orpheum review.....Great Job !


Thrakattak
:: Posted by fhc339835 on February 15, 2015

It took me a couple of years to find the door letting me really coming into this record. Taking aside the very awe-inspiring overdubs on the THRAK intro and esp. the outtro, the improvisations that have been picked for the recording are somehow a representation of the "repertoire".

Most (including myself and the artists themselves?) would argue that the 94-96 improvisational outfit did not reach the excellence of 72-74, but 94-96 was just the road to the 97-99 improvisations which in many aspects (diversity, use of modern technology, breadth by different styles exploited at the same time like electronica, jazz, metal, whole tone scales etc.) excel the period of 72-74.

Thus for me 94-96 is just the road to the climax of 97-99, the latter being the landmark of KC third period from 92 - 03 (92 as I tend to count sylvian-fripp-gunn and rfsq to the same period of RFís way of musiKcing).

Whilst listening through the currently available 95 tour bundles and downloads, the repercussions of what I have already heard of it on Thrakattak usually give me goosebumps.

I appreciate the idea of assembling a new mix of attacks at my nervous system!

I am very looking forward to it and am again and again very grateful for Davidís and Alexí (and all you others and the artistsí) dedication to repeatedly revisit archives.


Oddity
:: Posted by chessplayer on February 14, 2015

I stumbled on the picture of KC Elements S.Francisco dates "poster" (scrolling down on T.Levinís web diary page 19).
It must be a joke. Yes, from the first pyramid to the last.


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