If you’ve never downloaded a full Soundscapes concert before then this gig is the one to start with.[endtease] For reasons which aren’t entirely clear, some Soundscapes have a special magic, an ineffable "otherness" which draws one in deeper than other performances with which we’re acquainted. Atlanta is one of them. Why should this be so? Structurally, it’s similar to others presented on this site. The instrumental voices Fripp uses will also be familiar to anyone who has downloaded other gigs. Yet, for this listener, there’s something else going on here, something impossible to express in clear or concise terms. Fripp’s diary offers little in the way of clues. “A most enjoyable evening” he declares. Other than that nothing else directly about the music that unfolded during the course of this gig. Perhaps it was venue; perhaps it was staying with supportive friends, perhaps, perhaps, perhaps. What I do know is that Requiem is the keeper – delivering yearning, sadness and hope all tightly bound together into one indivisible moment that seems to go on forever.

AUDIO SOURCE: Direct Hard Drive



Threshold Bells
Time Stands Still
Queer Threshold I
Queer Space Whole Tone
Queer Threshold II
Dance Shallal
Dance Shallal Coda
At The End Of Time
Coda At The End Of Time
Written by Rafał Kosim
Exotic Islands of Sonic Bliss
This was my first purchase of soundscapes from DGM, a beginning of a love affair that lasts to this day. A hot marriage, to be more precise. I was not sure wether I was going to enjoy this, the soundscapes that I have listened to before were great but very difficult to digest, in terms of the level of attention span. So what? They were so intriguing, and the reviewer said that its good to get this one as a first. And now I can’t listen much to anything else, being possessed by the ’scapes. Eh, definitely worth it, though. This should be the stuff that circulates the web, not what currently is. My reaction to this gig was like: "So the soundscapes can be THAT good? Fuck me!" And the muse descended and did it. This one has my favourite Time Stands Still. Robert creates reflective fields of joy, and then leaves only the bell loop. That loop squeezes tears from my eyes, its that beautiful, poignant, and blissful. To these ears, the middle point gradually greets the listener with one of the most exotic, reflective, and cooling loops created. Exotic is the word I use to describe this soundscapal "otherness", and I love this 5 minutes sooo much! I dont know why there is such a strong resonance within me towards this track. Queer Space, nervousness and fear. Very stressful track, there is some acceptance of what is, in a way, but still... - I think that describes Whole Tone Terrors well. Good ol’ ambiguity. Requiem wears me out with one of the most intense soundscape solos from Robert. I’m worn out because it is so painful, together with that heart-aching loop. A tsunami of tears, no kidding... Very beautiful, but very difficult. But suffering needs time to exist, and Time Ends in a heavenly spectacular fashion. This ATEOT blisses me out. Or YEARNS me out. Both. The solo is long, and... probably deserves another "fuck" from me, so here it is: The solo is long and fucking awesome. Squeezes every piece of yearning joy from the depths of my being. Or maybe the joy of yearning? Hold on, tis no the end. The upgrade of the loop leaves me so speechless and intoxicated with music... I’m flying, flying off to another dimension. Angels descend and blow trumpets, for sure. Not enough? Additionally, Robert loops guitar lines of devastating joy and intensity. In overall, this creates a very, very special loop. Very exotic. "Exotic" is all over the gig, but in few places it hits you in the face. And that’s the Coda, the last 6 minutes repeated(why??). I could not leave alone these precious 6 for a very long time. Only slightly behind ATEOT from London, IMO.
Written by Leslie Heifner
Oh my.
My second purchase from dgmlive, and a great decision. Couldn’t make it to the show, but these files suffice, as much as files can. Also my first FLAC purchase. I’m not going back now. The performance leaves me speechless, other than to say, spiritual, in-depth, wow.
Written by Louie Bourland
Emotional Soundscapes From Atlanta.
Robert Fripp’s Soundscape performance from the Variety Playhouse in Atlanta GA is definitely one worth listening to again and again. While some familiar titles such as the now standard "Time Stands Still" and "At The End Of Time" are included here, they are once again presented in a unique fashion that separates them from the other renditions heard so far. Additionally, there are no "Queer Jazz Symmetrical" or "Minor" pieces heard here which is a departure from the norm in Fripp’s recent Soundscape performances. Instead, there are fresh workings of the "Queer Space Whole Tone" which in full of unsettling suspense and the "Dance Shallal" which Fripp first unvealed during the first gig of his monumental "December Suite" concerts this past December 2005. The standout of the entire performance would have to be the 14-minute "Requiem" heard in the middle of the concert. Here, Robert Fripp creates a serene atmosphere with ambient string orchestrations and what I can best describe as ’emotional chords’ - certain chords that once they hit your ear can bring shivers up your back, butterflies in your stomach or make you stop, take a deep breath and say ’phew’. It’s that powerful musically. Another standout is the version of "Time Stand Still" heard here. Throughout it’s 10 minute duration, Robert keeps the minimalist bell-like tones going continuously creating an almost trance-like musical enviornment. It’s definitely one of the best renditions of this piece so far. With this said, Robert Fripp’s Atlanta Soundscapes are definitely worth the price of admission. This is my favorite concert of the Dixie Soundscapes so far and I have downloaded all that have been released up to this point (June 10th 2006). This one definitely stands out above the rest. Excellent!!!
Written by Kelsang Phunrab
Spectacular!   This performance changed everything I understood Soundscapes to be.   Thank you, Robert, for this gift.