King Crimson’s Robert Fripp to Release ‘Washington State Park,’ Featuring Recordings from 1981 (Pre-Order)


Rock Cellar Magazine StaffCategories:Latest News

Rock Cellar Magazine

On April 29, King Crimson leader Robert Fripp will release a special set of recordings dating back to 1981.

Washington State Park is, per a news release, the Frippertronics album that should have come out in 1982. The forty years that have passed have done nothing to diminish the power of the music. The material appears on both discs with the DVD offering the audio in hi-res stereo and DTS Surround Sound, the nature of the loops lending themselves ideally to this method of production.

Click here to pre-order Washington State Park on CD/DVD from our Rock Cellar Store

More on the album and where the performances behind them placed in Crimson’s history, per a news release:

After completing the first round of concerts with a revived King Crimson starting in May 1981, Fripp headed over to the USA where he began a week-long residency at Washington Square United Methodist Church on 135 W Fourth Street in New York. Built in 1860, the church had historically been home to many congregations but in more recent years had become the venue for groups such as the Black Panthers, Gay Men’s Health Crisis and numerous arts organisations.

The series of Frippertronic concerts were held in aid of a Soho-based theatre group and they find the guitarist using his technique of slowly building the music from the ground up, step by step. It’s an approach which demonstrates how the addition or subtraction of a single note can change the entire mood of a piece as we move in the space of a few bars from an atmosphere of pensive anticipation to one of yearning hope.

In an interview with the Melody Maker published just weeks before these concerts, Fripp was asked why he continued to perform Frippertronic concerts. “It gives me a way of working with intimate contact with members of an audience…It’s almost an excuse to put me in a situation where one has the audience, performer and music, and in a certain kind of way something remarkable can happen. And that has happened to me, and it’s not possible in a group…Frippertronics is the most enjoyable means of playing I’ve ever found.”

The Washington Square Church performances represent some of the finest recorded examples of the Frippertronics series. Unlike other such recordings where the loops are on tape in the DGM archive but the solos require painstaking matching of existing audience recordings and bootlegs to those loops to complete the picture, the solos for these shows were actually recorded but not labelled as to which solos matched which loops. The matched pairs only became possible when DGM audio engineer Alex R. Mundy realised that the loops had been picked up, at microscopic audio levels, by the guitar pick-ups playing the solos, allowing for identification. David Singleton was then able to mix and produce the resulting audio.

The music played more than rewards such efforts as, culled from the shows, (more complete versions appear on the “Exposures” boxed set), Fripp appears to explore every sonic avenue available to him as a guitar player – mesmerising loops, overlaid with beautiful solos, fast running ‘Frame by Frame’ style lines against a looped background, powerful “Scary Monsters” type guitar noises and more besides.

In related news, a new documentary film titled In the Court of the Crimson King is set to debut at SXSW this month.

As detailed previously:

What began as a traditional documentary about the legendary band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives; but with jokes.

In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. It explores the unique creative environment of King Crimson, one in which freedom and responsibility conspire to place extraordinary demands on the band’s members – only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact.

This doc comes on the heels of a successful tour from Fripp and the band, a pandemic-delayed North American jaunt that took place this past summer and spawned the release of Music Is Our Friend: Live in Washington, D.C. , a live album capturing the band’s final performance in the city.



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