THAT WHICH PASSES - 1995 SOUNDSCAPES, LIVE VOL. 3
Robert Fripp
•Eclectic Prog
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3.70
| 35 ratings | 5 reviews | 26% 5 stars
Excellent addition to any |
Live, released in 1996 Songs / Tracks Listing 1. On Acceptance (4:02) - Robert Fripp / guitar, soundscapes
Third and final volume from Robert Fripp's 1995 season of Live improvisation. and to Quinino for the last updates Edit this entry |
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ROBERT FRIPP That Which Passes - 1995 Soundscapes, Live Vol. 3 ratings distribution
(35 ratings)
Essential: a masterpiece of progressive rock music(26%)Excellent addition to any prog rock music collection(29%)Good, but non-essential (20%)Collectors/fans only (20%)Poor. Only for completionists (6%)
ROBERT FRIPP That Which Passes - 1995 Soundscapes, Live Vol. 3 reviews
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Collaborators/Experts Reviews
PROG REVIEWER
PROG REVIEWER
Like 'A Blessing Of Tears', the music emerges from Fripp's personal emotions and thoughts following the death of his mother, but in fact captures such depth that the tale reaches out to universal concepts of awakening, deep fear, loss, frustration, uncertainty, brooding, as well as vitality, awe, joy, and - a common Soundscape theme of which Fripp is a master - acceptance.
The first track progresses from an extremely quiet delay effect to a mighty wall of sound, portraying a huge onset of emotion, resignation... challenging and remorseless. This opening piece is strongly reminiscent of 'Radiophonics', but just as it builds to a near-intolerable density the whole thing ceases immediately as if startled out of a nightmare, and a very new Soundscape begins in the form of 'On The Approach Of Doubt'. A rising siren seems to lure the listener higher and higher, and at last breaks the surface - with such relief - out into a curious and gentle space, alive with drifting, accordant waves and the most distant of beautiful, questing voices. Much more typical of the album's material, this too soon faces fiery discord, and the album pushes on through a tough drama of highs and lows, rarely lingering too long and exploring feelings of more complexity and specificity than ever before.
Among the highest points are: the breathtaking 'On Triumph', where after the long ordeal of the previous track the music climbs to an incredible chorus, the unison of voice-like sounds suggesting an immense space, as if the all the doors of possibility are open at once; and 'The Fear Of Light', with its cruel, slicing drones forming some truly merciless chords and an atmosphere of profound unease you're unlikely to hear in any music other than Soundscapes.
As always, this is music that demands to be an experience in itself. It will not place itself in the background, allow low volume, or pleasantly accompany your social gatherings. The peace and time to catch every unfolding note is the key to really listening to Soundscapes... Forget everything you think you know about music, remind yourself just how insignificant one human being is in the scale of the universe... then immerse yourself, and feel that turning instead to utmost significance as you experience the power of creation and expression that one performer and one listener can share.
SPECIAL COLLABORATOR Honorary Collaborator
(off-subject) As the references mention: All the recordings are taken from live soundscape performances in 1995, from two venues - The Goethe Institute of Buenos Aires during the week beginning on the evening of Monday 3rd. April and continuing through to Sunday 9th. April, 1995, and Washington Square Church on Friday 8th. and Saturday 9th. September 1995.
There was a range of difficult to apprehend moments that sort of describe the other two 1995 volumes (since this one is vol.3), a progression into the unknown space and the unrevealed essence. Well, this character is mainly a featured changed in That Which Passes, through the effect that the barriers are shattering and the ways and modes are open. The experience is illuminating, intensive in its form, shockwave in its manner, splendor in its impulse. Very open and very direct the methods, the expression and the impressions are derived from simple feelings and even more simple interpretations. The album can impress through a range of emotions and of musical, artistically effects. Some moments are acute generic havocs, while some go into a lament of fluid, condescend, fascinating, silent waves. Some are harsh and ravaging, while some tranquil and tendentious in the resisting power. Robert Fripp is a stickler for adhesion. The music treats the subject and the speech.
In a saddening, pessimist, disturbed resonance, the music's tone is of low heights that act grand. A sorrow impression persists, a ghostly movement is imagined, a slumber shadow presents itself in a voiled portrait. The world of which the music belongs is one of dark colors, of immobility, of auditive protuberances. A perspective into darkness. A perspective into darkness' light. The matter and the knowledge are once more conserved. The emotional pulse is one still, but of deadly spark. The journey is one hallucinating and of complete sensorial panic. Effects gather voices, echoes, screams and shallow whispers, arranging them in an orchestral dissonant diffusion and in a striking flame. The story seems never-ending. The view seems eternally fallen. The name, the list, the essence embrace the constant message of fading, of becoming immaterial, of sending the spirit out of the realistic tapes and records. Silence comes as a blessing. The repaus is after the coma-like surround that constantly invigorates itself and draws more themes, more moments, more effective and decreptive scales. That Which Passes is one of the most adequate scape treating the music's valences (hidden or to be deciphered) and leaving the background of details or of quality into a suspended manner or an already achieved one (saying that the evolution of the volumes draws the conclusion of a perfectioned style, therefore needing less the attention of accuracy, more the focus on the fragile dynamics of the melody).
Looks wonderful and very interesting. Refreshing taste of soundscapes and this accentuation over the composition will denote many things into the coming future. For now, this is an outstanding manifest, ending a year that privileges quality and performance, ending a triple-powered release and sensing the passion of the style and the extensions of the message.like few do. Recommended, as always and as all are.
"The surreal touch of the expressions, compiled with distinction, is a test of thorough confidence in the relation with one's soul and attention, and are depths gained, reaching far in effects and in implementations of inner voice and mutual feeling."
SPECIAL COLLABORATOR Honorary Collaborator
Latest members reviews
A musical reflection about death... This album is classical Fripp soundscapes, but with less emotional content than in "A Blessing Of Tears". The songs are supposed to reflect the different emotional stages a dying person would go through, so the music is sometimes sad, sometimes ethereal, so ... (read more)
Report this review (#74711) | Posted by zaxx | Wednesday, April 12, 2006 | Review Permanlink
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