Highly Recommended   February 8, 2006
Written by fixgearbob
 As this was recorded on my 45th birthday, I must admit a bias... but it certainly is a great addition to any Frippertronic/Soundscapes collection. A must-have when flying over the Nevada desert- get a window seat and a good player, and this album will be a boost to your soul- it certainly was for me. Mr. Fripp plays the music I wish I could. Thanks for so many years of good listening! Thanks for a nice commemorative set for a turning point in my life!

Still progressing   December 30, 2005
Written by peter29

Hello,

            First I would like to congratulate DGM Life team amazing website. I have just successfully downloaded Robert Fripp’s soundscapes set from Junction, Cambridge and here I would like to send you some of my reflections upon this extraordinary music.

I think that in terms of mood and sound this set of soundscapes is very close to the “November Suite” album although there are some considerable changes in sound which – except for bells and piano effects – became more dark and mellotron oriented, especially in final improvisation, “At the end of time”. This probably is the credit of Solar Voyager II and there lies one of the burning questions which I would kindly send to Robert.

There is clear distinction between soundscapes from “Radiophonics”, “November Suite” and latest music from World Financial Centre and Junction. Do you have in mind a certain vision in which direction sound will flow or each progress in soundscapes - a new ring for example - is a matter of an accident, an  experiment with recent technologies?   

            Best wishes,

Piotr  (Poland)

Shimmering!!!   December 30, 2005
Written by LouieB
Robert Fripp’s final performance on the Porcupine Tree Tour is a spectacular one. While the performance itself only runs for 35-minutes, there is plenty of excitement here to digest.
First of all, this performance finds Fripp taking his Soundscapes into a new realm with many new sounds and textures not heard in his previous Soundscape work. The two extended pieces "Time Stands Still" and "At The End of Time" find him building up cinematic layers of sound in which he eventually begins to provide fluid sustained guitar leads over the top. This is very much in the same vein as his recent collaboration with Brian Eno, "The Equatorial Stars".
The other main piece "Queer Jazz: Minor" also shows off new sounds with its repeated minimalist chords and haunting lead lines which alternate between the sound of a piano and the natural electric lead guitar.
With this said, the Junction download is definitely a must. This is Robert Fripp moving forward with his Soundscape developments and to be honest, it leaves one wondering excitedley what he is going to do next.
An essential performance!!!

Magic WIth Smoke & Mirrors?   December 29, 2005
Written by Carlyle
Having carefully watched Mr. Fripp "create" his soundscapes on numerous occasions, I finally may have hit upon the secret of his craft... I believe he has wired some kind of transducer upon his person which communicates directly with a complex algorhythmic computer system intricately translating his every gesture, grimace, shoulder shimmey, and pedal stomp into a telepathicallly controlled musical "cell" ---essentially reacting like a sophisticated theremin. Yes, certainly these sound cells blossom and bloom to replicate the very opening of the Heavens--or the portals of Hell--but I’m just not entirely convinced they’re actually being played by human hands. Has anyone else stumbled across this theory? Yet, however they are "created", the end result is always stunning.

   December 23, 2005
Written by mflaherty
Having read the reviews of the night’s performance makes this soundscape even more incredible (happily, the noisy crowd members are not heard).  This performance strikes me as being different than other recent soundscapes that I’ve heard, although it is difficult to say why.  The mood, to me, seems less mournful, and Queer Jazz feels like a search for something new that hasn’t quite been found.  Time will tell.  In the meantime, an excellent recording that stands on its own.

Worth Waiting   December 23, 2005
Written by mijregla
Well it was well worth waiting for.  As a huge Robert Fripp and Porcupine Tree fan I was lucky enough to see Soundscapes 3 times (Boston and 2 Chicago shows) and was thrilled when a friend called and mentioned the Cambridge show could be downloaded.  Fantastic Christmas, for me is all that much better.  I was hoping for some material from this tour and it really is great besides the fact that the people I went to the shows with just don’t get it.  I personally do and could care less if they do or don’t.  They have been the same way with Zappa and others so I don’t mind.  I would hope that the second night of the PT dvd shoot in Chicago comes out also (that was my favorite night of the 3).  The vibe that night was just a great set up for PT.  I remember talking to a friend after the Boston show about this guy that screamed out "play something" and him commenting saying, "Robert Fripp can do more with one note than that pathetic wannabe."  He was right, keep up the good work and enjoy the holiday.  Also love the download option.  Jim-Boston,USA

Rowdy Audience - Great Gig   December 22, 2005
Written by Timthelooper
Sunday December 11 2006. Cambridge Junction. I’ve never been to one of Robert Fripp’s solo gigs before but having seen his Soundscapes on DVD I assumed that the audience during Fripp’s set would consist of die-hard Fripp fans; reverantly stroking their chins while watching the master at work. This was the case, but those who had come to see Fripp were swamped amidst a typical audience of rowdy rock pigs who were there to give Porcupine Tree a good send off at the end of their world tour and I had to literally force myself through the rammed venue to get as close to the stage as possible

As soon as Fripp started playing, some of Junction audience behaved in an appalling and generally disrespectful way; talking, calling out and even slow hand-clapping at one point! When the dreaded flash photo went off I thought that Fripp would walk off stage but to his credit he stuck to his guns. At some points you could tell that some of the noisy elements in the audience were spoiling Fripp’s concentration but the music remained focused and very chilled, which seemed to have a calming effect on the audience, whoc actually treated Fripp to a prolonged, if slightly delayed, ovation at the end of his performance.

Before he left, Fripp made a rare speech, where he thanked Porcupine Tree and their crew for their kindness to him during the long tour...and he expertly put down a heckler too. Fripp came across as a warm and humble guy, not the icy Prog Boffin that he often seems misrepresented as, and his solo shows are an inspiration to everybody that wants to perform solo ambinet or experimental guitar. He handled his detractors with dignity while remaining totally committed to letting the music flow. A great night.

An enchanting peek into the heart of Robert Fripp   December 21, 2005
Written by LTinAspic
I’ve been listening to Robert’s Soundscapes and Frippertronics compositions for some 30 years now. I’ve always found them to be fascinating and extremely well made. Soundscape 12/11/05 is no exception.

I think many people assume that Robert’s creativity springs from his mind. After all, they read his sometimes oblique liner notes and obtuse (yet dryly amusing) blog entries and they draw the conclusion that the man possesses superior intelligence. Rightly so. However, the leap, and an incorrect one, is that it’s his intelligence that produces his music.

I made that mistake for many years. I approached King Crimson with my mind. I analyzed it and dissected its parts – all the while missing the point: such music, albeit meticulously crafted, belonged more to the realms of the heart than the labyrinths of the mind.

For the same reason, I don’t think intelligence can produce the beauty found in Soundscape 12/11/05. I think it comes from love – a quality I think some people overlook when it comes to Robert Fripp.

Soundscapes are to music what Mondrian was to painting – primary colors that force the interpreter to transcend linear thinking and, instead, resort to that which lies within one’s soul to give them meaning. And life.

Sure, I have no doubt it takes someone with superior intellect to harness the technology that facilitates the creation of Soundscapes. But it takes a musician with extraordinary heart to create the waves and layers and textures that make Soundscapes vibrant and magical. Music is not a profession for the faint of heart. It is only for those called into it who have a fierce love of its craftsmanship who will weather the profession’s often cruel vicissitudes. Robert Fripp is such a person. And I’m thankful he is.

Soundscape 12/11/05 is perfect music for active listening (for new elements can be found with each hearing). And it is outstanding music for passive listening (such as when I write and need ambient music with which to ply my muse). It is original. It is enchanting. And it is highly emotional.

Thank you, Robert, for sharing with us your unwavering love for your craft. Thank you for continuing to create new and challenging compositions for all of us to enjoy.

I highly recommend Soundscape 12/11/05.

Bill Murphy

Soundscaping   December 20, 2005
Written by juani108

I’ve been listening Fripp’s solo projects and I found a new horizon in music, soundscapes are a mind-travelling experience through places you’ve never been and you always longed to be. Everytime I listen to these records and I close my eyes I can clearly see pictures and colours, emotions and deep feelings start showing up and makes me feel full relaxed and full of joy. Believe me.

Mr. Fripp I don’t have the words to thank you because your music helps me out as a musician myself trying to explore new textures with my guitar and for taking me out of this world at least for a beautiful while.

   December 11, 2005
Written by Robert Fripp

13.41

B&B Ace & Very English, Ely.

An enjoyable morning gentling, practising editing in Soundtrack Pro & Christmas carding in the downstairs lounge…

A gentle salad lunch in town. Now to the gig in Cambridge.

23.04    The venue, Cambridge Junction, is part of a small leisure development on
the outskirts of Cambridge.

Venue I…

Venue II

Dressing Room...

Last show with Porcupine Tree...

The leisure development is characterised by smoking. I visited two restaurants near the venue, for an afternoon cappuccino, and was driven out of both by the smoke. The venue itself was also a smoking zone, despite requests to the contrary.

The Soundscapes set: a full venue, standing, smoky, flashes, several helpful comments to urge along the Soundscaper (ie to hasten his demise). Also, some good ears. Overall, an unsettled audience that challenged the player to remain focused. There were some musical developments, although it was difficult to feel an overall sense of the performance because so few people heard what was going on; and their lack of connection prejudiced my own. But, I trust the process, and persist.

Back to Ely & our Wonder B&B; a takeaway Thai from opposite & computing: beginning to use Soundtrack Pro on the JGB talks.

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