A few notes here, about my nascent interest in understanding the proper signal chain for doing the sort of ambient soundscapes that Chords of Orion has introduced to me. For anyone who either happens across this post or who got sent here by me (upon threat of being made to work in the squirrels’ nut mines): I would welcome constructive or enlightening comments to advance my understanding of what is a new area, but one of great interest, to me as a player.
Okay, so based on the ideas I picked up from the first few clips of the Ambient Guitar series at Chords of Orion, I went and tried to see if I could, using the very limited amount of gear I have, create a signal chain that would let me approach the same landscape.
In short: it works!
Bookmarking here what looks to be a major-caliber resource, at least for someone as new to electronics as I am, for approaching the live-looping-delaying universe first called “Frippertronics” and later “Soundscapes”.
I’ve made it up to about #10 in the series thus far, and will be reviewing more soon enough. This fella seems pretty well thought out, and the landscape this suggests is starting to poke at my hindbrain a little more insistently.
This needs a bookmark. Another teaser from the 2015 tour of the “Seven-headed beast of Crim”; this one the ’70s-era staple “Starless”.
Most previous observations still apply, at least at first viewing of this second clip. I found I wanted Collins to be much louder in the mix here, as his presence on the original ’74 recording is just breathtaking. It was cool to see the drum parts scattered among the frontline, especially including Rieflin, who is also the keyboardist. And it was a treat to watch the “circulated” pivot notes between the two guitarists late in the 13/8 windup.
But man, check out Robert Unrestrained from 10:45 – 11:10, especially that top-of-the-neck harmonization at 11:00. Holy smokes!
Like I said–this needs a bookmark. 🙂
I gushed a bit about this one a while back on the Blogspot blog, and wanted to have it documented here too. Because seriously, who else sounds even remotely like Robert, as a player? One doesn’t even have to like his playing style, to acknowledge that it is like no other.
A sneak preview of the 2016 incarnation of King Crimson, playing…”Easy Money“.
Wait, what? King Crimson doesn’t usually repeat itself.
But the way I’m understanding it, this new Crim is indeed “reimagining” some of the older tunes. That seems to be at least part of the point. Okay, does that somehow mean that Robert’s gone soft all of a sudden?
I suppose we’ll see, but somehow, I doubt it. In my book at least, he’s earned a lot of trust in that regard. And who knows, maybe it’s me that’s gone soft, because at least on first listen, I enjoyed this a great deal:
Cry fanboy if you must–guilty as charged–but there is a lot in here to like. Based on this performance alone, I’m not entirely convinced on Jakko as frontman, but he does seem both reasonably precise and endearingly earnest, and I look forward to seeing more before making a real judgment. In a similar vein, given the use of the word “reimagining” to describe this edition of KC, I was a little surprised at how canonical and straight-up this edition of “Easy Money” seemed to be. Again, I don’t know how indicative it may be, and I ain’t castin’ a judgment until I’ve seen more. (Besides, it’s a great song, and as much as I have loved KC’s long insistence on new music over old, I’m in no way above the idea of re-Crim-inating some of the catalog; if that’s what the muse is interested in doing now, I’m happy to go along. Again, the trust has more than been earned.)
And boy, do I hear some treats in there. It is always a pleasure to hear T-Lev in a Crimson group, and the return of reedman Mel Collins holds a lot of promise. Watching and listening to Robert, it is obvious that he is playing the old piece with all the context of his subsequent work, and that is just a-okay by me; it’s also quite a charge to see him smile like that!
Finally, there is that triple-drummer frontline, and wow, does that sound fantastic. The stories of Mastelotto, Rieflin, and Harrison focusing on being a single drummer with one brain and six available hands–yeah, I’m believing that. The interplay here is magnificent, and true to intention, there really is no overplaying that I can hear, just a solid, collaborative percussion line that demonstrates much of the richness that Jamie Muir brought to the ’72 Crimson.
Yes, please, more of that! I do look forward to seeing what else they have in mind.