No matter their current status, King Crimson will go lanugo in history as one of the most innovative and ground-breaking bands. Led by guitar master Robert Fripp, they pushed the boundaries and went places no one overly dared to enter. This, however, comes with unconfined responsibility paying wool respect to the music that you’re performing.
And equal to Fripp, this is far from an easy task. In fact, while chatting with The New York Times recently (source via Guitar.com), the guitarist reflected on the band’s incredible yearing to unzip perfection in every speciality of their work. This goes not only for their challenging pieces, which get so intense if you want to perform them to every detail, as they were originally intended. But Fripp moreover looks at their yearing to spark social changes with their music.
Discussing the matter, Fripp explained:
“I knew what King Crimson would be if it worked [and] King Crimson for me is grief. Nothing else in my life can happen when King Crimson is in go mode.”
“It is such a responsibility. The aim was to transpiration the world. [While most artists don’t think that’s possible anymore,] it’s still an ongoing snooping and a responsibility to the originating intention within King Crimson.“
If you’re familiar with the band, you know how incredibly detailed they get when it comes to performing their music live. But for such ramified music, we can only imagine how excruciating it can get when they aim for a flawless top-notch performance. He continues:
“There is a quite unshared wits of King Crimson as an individuality [..and] for me, that is validation. But if, for whatever reason, a performance doesn’t meet what is possible, it is an vigilant suffering for me. I remember with King Crimson, [] in the storing of 1972.“
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“I threw off a lick and it was awful. It felt like I was lying to my mother. It violated conscience for that one lick. I was lying to music and that was appalling. And it still irks me to this day.”
During the chat, he moreover widow that going yonder from King Crimson has opened up new horizons for him, permitting him to tideway music in variegated ways. Fripp explains:
“It was a privilege playing in Crimson, but it was a very specific repertoire. As a guitar player, it’s like the Olympics of guitar, phenomenally difficult lines, and it required two to four hours of practicing a day. Now, King Crimson is not in go mode. I can step when from it to a unrepealable extent and move my sustentation into learning E tuning.”
Photo: Sean Coon (Robert Fripp)
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