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| | At the End of Time: Churchscapes - Live in England & Estonia, 2006 | | | Music Artist : | | Robert Fripp | | Music Style : | | Britain | | Record Label : | | Dgm / Inner Knot | | Release Date : | | 2007-07-17 | | Store Price : | | $15.98 | | Artistopia's Price: $15.98 | | Usually ships in 24 hours | | |
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CD Tracks/Songs
Disc 11. Threshold Bells: St. Paul's
2. At the End of Time: St. Paul's
3. Evensong: Tallinn
4. Evensong Coda: Tallinn
5. At the End of Time: Broad Chalke
6. Evensong: Viljandi
7. Evensong Coda: Viljandi
8. Future Shift: Haapsalu
9. Evensong: Haapsalu
10. Evensong Coda: Haapsalu
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Other Artist Albums
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Customer Reviews of This Album/CD |
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 A must for all Fripp fans and even Crimheads.
Submitted on: 2009-03-02 |
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| Delicately woven synth loops with a devotional hue. Very moving and gracious. I listen to this very often. Great ambient sound textures that bring a soothing relief from a world going bad. |
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 More of the Brilliantly Beautiful Same
Submitted on: 2008-10-12 |
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The funny thing about ambient, new age and any type of soundscape music is that some of the best complimentary remarks one can make would sound like insults were one speaking of any other genre. "This sounds like background music." "I can't remember which song is which " and "This music makes me sleep." I can apply all these comments to Fripp's soundscape albums. But I love them because they are beautiful. I love that they lack cloying melodies and lyrics that would distract as I read or work on my pc, and when I allow the cd to lull me to sleep, it is an unbelievably soothing and restful and peaceful doze into which I drift.
i am glad that I found music that fulfills a specific purpose -- and that the purpose is to achieve restful, peace of body and mind... wow, that's a tremendous thing.
I consider some of Eno's and most of Budd's work in this genre to be the 5 star stuff. |
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Fripp in the best imaginable settings.
Submitted on: 2008-04-23 |
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Fripp's "soundscapes" are always utterly gorgeous, ravishing musical atmospheres that ebb and flow and shimmer with otherworldly beauty. So it is highly fitting that he undertook a tour of churches in England and Estonia with his highly spiritual and ecstatic improvised music. As he mentions in the booklet notes, one pastor told him that there have been many different musical performances in his church but Fripp's soundscapes were by far the most appropriate.
The day I got this CD I listened to it three times. That's something I hardly ever do within a MONTH of purchasing other CD's. |
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Fripp's Spiritual Side
Submitted on: 2007-12-21 |
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I've heard about 6 or 7 Frippertronic albums dating back to Let the Power Fall. This is the best. The music is very smooth and rich, something that can not always be said for this style of music. The different churches that the tracks are recorded at also seem to add their own ambience.
This CD is not for everyone, but if you like Frippertronics, this is a good addition to your library. |
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ICONOCLAST
Submitted on: 2007-09-02 |
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Let's start with making a distinction: there is a great volume of music that we can work to comprehend, and there is a more elusive body within the body of music that it is best to apprehend. The first, of course, is a conscious understanding; the second, one of emotional understanding more appropriate, perhaps, to sacred works. That Churchscapes fits into the broad category of sacred music is not a point of contention. By performing in the churches of his homeland Fripp aligns with the performance spaces of John Tavener; in Estonia, with the performance spaces of Arvo Pärt.
Consequently, the music of Churchscapes dutifully avoids the typically glossy, sunny, enthusiastic or merely derivative excrescences of the Jesus rock (no real chance it would not have, just wanted to use the phrase "the Jesus rock" in here somewhere) and smartly forgoes the current fad for doing whatever you like in the name of, rather than doing what the so-called Namer asks of you. Latent in much of the soundscapes work - in particular That Which Passes and Love Cannot Bear - Fripp seems to be owning up here that much of the yearning, sorrow and doubt flowing from his fingers belongs to the sacred, or at least his sense of it.
Unfortunately, when it comes to the acoustics, Churchscapes does not sound very different than the Soundscapes. Comparing this recording with Pärt's Kanon Pokajanen recorded down the street at the Niguliste Church would lead the listener to think that the acoustics of the church -- while apparently considered in the performance -- were not employed in the recording. If true, it is an odd decision to exclude the acoustics since the soundscape amplification is typically so well-tuned to its environment and since such acoustics have traditionally played such a central role in Western sacred musics. But the fact that these venues are so far outside the popular music and rock streams does both Fripp and the music credit because, driven by the fantastical being of your choice or not, genuine sacred music has managed to set down a rigorous set of specs and traditions that define it perhaps more closely than many other Western forms.
To varying degrees the ten interrelated tracks take the open loop into account, and there is surely no more appropriate or fatalistic system. Fripp is able to voice a number of instruments and there's less a sense of guitar-only here than in other soundscapes. He even seems to quote fragments of "Starless" at one point, then proceeds with the deconstruction of what is one of his purest and most melodic passages into a shimmering intersection of the formed and formless. Other instances reveal a welcome, gapped openness, as plectrum bell-like events coalesce into pattern and are allowed the long declines of Eventide's 80+ second delay lines into absolute and undisturbed silence, making for a fitting resolution to the carefully arc'd complexities that precede. Surely different from the Soundscapes series, but in some ways not quite different enough. |
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