1999 -- Soundscapes -- Live In Argentina
Originally released: 1994
Recorded live to DAT in Argentina, June 9-19th 1994.
- 16'08 1999
- 16'02 2000
- 12'52 2001
- 3'59 Interlude
- 8'29 2002
Reviews are listed in chronological order within each section. Please retain a chronological order when adding new reviews.
Date Submitted: 19-Feb-98
By: Michael W. Flaherty (z946128 at rice dot farm dot niu dot edu)
"Robert Fripp's first full length Soundscape release, "1999", begins with complete silence. It is not until 1:22 into the opening title track that the sounds slowly become audible. This silence does not last. Soon, a rythmic pulse beats through space, overlapped by various long notes that continue to build in length and in intensity. Quite suddenly, the direction of the sound changes as notes begin to move downward and almost burst into silence.
"With "2000" we find a circular set of notes backed with low drones. New circular patterns continue to build on the first pattern, which are then joined by a series of high, single notes, all of which combine for a beautiful wall of melodic noise. As with the first track, the sounds build in intensity, until they finally fade away. There is another pause before "2001" drones into the speakers. This is a more gentle track, which features high, long notes that are joined by faster, echoing sounds.
"After the bleeps of the appropriately named "Interlude", the record concludes with "2002", a dreamy, gentle wash of low notes over which Mr. Fripp adds pitches that bring the Soundscape to a surprisingly tender end.
"Unlike the Soundscapes that have followed, "1999" has no central theme. But many of the techniques and approaches of this recording have since been expanded on, and "1999" provides an important starting point for the Soundscapes project. Yet each of these small works stand on their own not only as the seeds from which the series has grown, but also as small Frippian masterworks."
Date Submitted: 8-Mar-99
By: Eric J. Thorson (thor71 at usinternet dot com)
"I would like to offer a differing opinion from Mr. Flaherty's about the album 1999 containing no central theme. Like "Let the Power Fall," the song titles are derived from years, which at the date of recording, are still in the future. Keeping in mind Robert's way of talking about the future, "The drive to '81" and recent discussion of what the coming years hold for him, I suggest that these soundscapes have an eschatological theme. Eschatology is the science of talking about the future, a branch of theology which presupposes that time is like an arrow, speeding toward its destination and fulfillment. This is not surprising in the late 20th century. Robert is tapping into Millenial metaphor common to Western culture, especially esoteric culture."