08 maggio 2017

Regola in pubblico un po' di conti personali con Fripp e Frippertronics - a quaranta e passa anni di distanza! - e nel contempo dichiara immutata fedeltà al metodo Riley in fatto di delay con nastro magnetico. Poi però recupera tre brani prodotti in digitale nel 2006 per (ri)proporli ai suoi fan attuali come 'audio trance wallpaper': è l'Henry Kaiser di Nostalgia for Infinity (Fractal, 2017), tutto uno struggersi per indimenticabili scene di primavera australe sopra e sotto i ghiacci dell'Antartide.

“I have a great love for the feedback tape delay system that Terry Riley developed and named in the 1960’s: The Time Lag Accumulator. It is an amazingly expressive creative tool, and just one of the myriad of wonders that exploded from The San Francisco Tape Music Center. When Robert Fripp and Brian Eno later co-opted this twin Revox tape recorder technology and approach from Riley in 1973 - Fripp dubbed it Frippertronics - that co-opting kinda spoiled this simple long delay with feedback approach to solo guitar for me as form of public performance. While Fripp created some truly great guitar music with Riley’s methodology, he seemed to build a wall around the possibilities for other guitarists using those Terry Riley techniques, by creating a situation where anyone who employed Riley's methods without tipping their hat to the King Crimson bandleader was scorned. Despite this, I would sometime enjoy privately playing in this manner at home alone - but never in public. My gratitude for opening up that sonic world, goes 100% to Terry Riley. I seem to have been the first guitarist to use studio digital delays for this purpose in the mid-70’s; with the first digital looping on an album with 1978’s recordings of Outside Pleasure and Aloha. Most of my released long-form solos however have been in the completely different square-wave modulated delay approach that I discovered in the 70’s, seemingly independent of anyone else. My albums Everything Forever, A Rainbow for Riley, and Garden of Memory being my favorite releases in that style. Here on Nostalgia for Infinity are long form solos performed without the square wave modulation in the delay, and in more of a Terry Riley modality. Just one guitar live into a TC 2290 digital delay.”