That Which Passes
Originally released: 1996
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.
- 43'25 On Dying:
- 4'02 On Acceptance
- 1'40 On The Approach of Doubt
- 1'39 The Leap
- 3'56 A Worm In Paradise
- 12'08 New Worlds
- 2'25 On Triumph
- 3'43 On Awe
- 3'04 This Too Shall Pass
- 4'45 The Fear Of Light
- 6'03 A Time To Die
Reviews are listed in chronological order within each section. Please retain a chronological order when adding new reviews.
Date Submitted: 18-Oct-97
By: Michael W. Flaherty (z946128 at rice dot farm dot niu dot edu)
"In "That Which Passes", the third volume of the 1995 Soundscapes series, Robert Fripp continues his contemplation of death that began with "A Blessing of Tears". The CD begins with "On Acceptance", a collection of musical bleeps, which soon gives way to the more fluid "On the Approach of Death". The latter track introduces the use of sampled and manipulated voices--a method used throughout this recording. "The Leap" introduces a myriad of more harsh sounds which attack the listener in several directions, finally merging into the softness of "A Worm in Paradise." In the long, central, "New Worlds" Fripp combines drones, electronic bleeps, and human voices into a wall of confused sound. If "That Which Passes" is a less mournful recording than "A Blessing of Tears", it is a more harsh one.
"The listener is then led through a musical rendering of life's endings, leading to the acceptance of the closing "A Time to Die". Throughout this suite (the entire soundscape proceeds without a pause) Mr. Fripp continues to combine the soft with the harsh, and beauty with jolting dissonance. "This Too Shall Pass" is particularly melodic; "The Fear of Light" is forbidding in its lack of musical resolutions.
"Anyone can say that their instrumental composition is "about" an experience of some sort, and then simply doodle at his or her instrument. What makes this soundscape particularly impressive is that it sonically recreates the feelings of fear, wonder, and beauty: emotions that one might well imagine to be part of life's final moments."
Date Submitted: 8-Jul-99
By: David Hudson (david at hudson999 dot freeserve dot co dot uk)
"This is the best of the 1995 Soundscapes series. Musically it leans more towards the spirituality of Volume 2 than the dark experimentation of Volume 1. It's jam packed with ideas and for once all that frantic knob turning (where the music sounds as if it's collapsing) is done to good effect rather than merely being a device to break a piece down. It also contains one of the most beautiful soundscapes Fripp has ever created, On Triumph. Two and a half minutes of pure majesty that will move you about as deeply as music can."