Bredonborough Struggling to rise at
15.13
Bredonborough.
Struggling to rise at 09.45.
On the street for MinxDirt I…
II...
… and a journey out to Barbara, recovering from her surprise birthday party yesterday. Her television had stopped working. The problem was quickly solved– I turned it on.
Back to loading boxes into the car, yet again, to carry to London tomorrow.
17.54 Legs snapping to the gym. Watering at World HQ.
And what of today’s portion of dopiness?...
Travis & Fripp will bore you to tears on Live At Coventry CathedralJordon Blum
Progressive Metal Examiner
Fripp should always, at least partially, stick to what he’s known for…
Sam Alder would have approved of Jordan’s advice.
Jordan is a 22 year old musician from Northeast Philadelphia. He is currently earning his MFA in fiction… He’s been an avid lover, studier, promoter and writer of Progressive genres since he was thirteen…
Jordan’s review is more complex than seems at first glance.
1. Jordan seems to be saying: Fripp should do what he sees as being right, and to follow his Muse, providing also that Fripp doesn’t follow his Muse.
2. Fripp should always stick (at least partially – ie not always) to what he’s known for by Jordan. Jordan knows progressive. So, if Jordan doesn’t know what Fripp’s known for other than “prog guitarist”, it doesn’t count.
What is Fripp-as-guitarist known for? Probably…
1. King Crimson; albeit of different periods & line-ups, each with different characteristics.
2. Wild Card Guitarist, as with Eno & Bowie, most recently The Humans & Nick Cave with Grinderman.
3. Bleeping & Droning since 1972 with Eno; since 1978 with Frippertronics; since 1991 with Soundscapes; recently with Theo Travis.
4. Crafty Guitaring in Guitar Craft & with The League Of Crafty Guitarists since 1985.
Not sure how Sylvian-Fripp might be categorised, nor whether Fripp is known for S/F. Or production. Or Venality at DGM. Or supporting the catalogue. Or public speaking. Or eating cake.
T&F in Coventry Cathedral falls within the overall area of Bleeping & Droning, underway since 1972. From one point of view, this is what he’s known for, certainly for 30 years. Is this what Fripp should always, at least partially, stick to? Clearly not, in Jordan’s view.
Most of my work, with the likely exception of Wild Card, has the characteristic that it bores a large proportion of its audience not already convinced by that area; and a larger proportion of the female members of that audience whether convinced or not. Bleeping & Droning bores a larger proportion even than this, if not mostly all, of its audience, of both sexes & especially the young. Boredom-alert warnings for B&D events have been given out for some years. G3 fans booed it off most nights for six weeks in Europe during 2004.
Music speaks one language, in many dialects. As a player, as a listener, I find richness, detail & proliferating variety within & between those dialects: a tapestry of developing variations on one primary motif. As a player, Soundscapes are nearer to poetry than to prose; and as a way of reflecting on the contradictions, ambiguities & aspirations in human living, immediate & in-the-moment. There are no guarantees in life, no guarantees in music. And life can be boring, if we allow it to be.
19.56 A Minx Walk around the town. Dribbling.
Gentling.
