Beyond Even [Limited Edition]

 

 

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"Beyond Even" is the latest installment in a series of collaborative albums between Robert Fripp of King Crimson fame and Brian Eno, who really needs little introduction. They've been working together off and on since the 70's and this is their latest offering.

Although the collection of tracks on this CD flows along easily and cohesively, creating a quite varied yet organic sequence, it must be remembered that the range of dates in this assemblage goes from 1992 to 2006. "Beyond Even" is released in two formats. The first disc is a set of distinct tracks from 1 to 13. The second features exactly the same tracks BUT mixed as a CD-length suite, each one blending in to each other without a break ... and it works best that way. It is hard to imagine that such a varied set of pieces constructed over 14 years would be so cohesive, but it is.

It's a limited edition CD and I think it really is worth getting THIS version because the "mixed" CD is the gem that's going to disappear when all the first pressings are sold.

There is much to surprise and delight here. Some of it familiar and characteristic of both the creators, individually and collaboratively. And there is much that is new. MUCH. Not quite as hushed and ambient as "The Equatorial Stars", incorporating some beats and some very Eno-esque "space jazz", "Beyond Even", still, for the most part continues on in Fripp and Eno's more contemplative vein.

If one expects "The Heavenly Music Corporation" or "An Index of Metals" - millenium versions, there is going to be a surprise. Gone is the total reliance on the tape delay technique, two revoxes connected by a long loop of tape, processed through an echo unit which feeds back what was played in layers of delay. This technology was crafty and inventive for its day and yielded wonderful results, but now there is a universe of possibility offered up by digital technology. And Brian and Robert make exemplary use of it ... of course.

Fripp and Eno's working vocabulary has become rich and multi-faceted. From Brian Eno we hear parts that sound like "The Shutov Assembly" (purely ambient), " Spinner" and "The Drop" (very jazz inflected) and "Nerve Net" with it's dark, metallic musings.

Fripp shows an impressive range from his back "catalogue" too. You hear bits of the ProjeKts, King Crimson, of course, FFWD ( w/ The Orb ), his solo work and new colourings and spicings that sound nothing like recognizable guitar.

Indeed, it seems to me after 40 years that Fripp's best work is always done in COLLABORATION with one other artist or with another band. Others appear to rein him in just enough that his obsessive, destructive "apocalypsism", if you will, doesn't immolate the known universe. And, true to his form, all is not peace here, as it would seem ... BEWARE the 13th track, "Cross Crisis in Lust Storm", the closing piece. Keep your speakers DOWN no matter how quiet the preceding tracks are. THIS one is pure "I wanted to rip it up" Fripp. It comes as quite a shock. Without warning it explodes out of the speakers sending you bolting across the room or knocking everything over to get to your remote. A bit juvenile, I think, in it's desire to blast and severely rattle the nerves after lulling and lifting one up for an hour. Now you know. This tasteless indulgence knocks a star off the rating.

Fripp's work with Brian Eno, David Sylvian, The Orb and David Bowie, are some of the best things he's ever put to record. In collaboration he offers breathtaking skill and originality. Listen to the now-legendary work he did with David Sylvian on "The First Day" and the subsequent live, "Damage". Brian Eno's debut, "Here Come the Warm Jets", is hugely enhanced by Fripp's blistering twistings. His guitar solos on Bowie's "Scary Monsters" album are unexcelled, gob-smacking genius. "Beyond Even" and the absolutely perfect "The Equatorial Stars" ( also F & E ) is some of the best work he's ever done.

Eno's inventions and variations on "themes" is forever fruitful. His ability and command of his mediums is virtuosic but never loses sight of the desire to create "worlds", no matter how strange or exotic, that invite the listener in, giving them an entire cosmos of sonic wonder in which to wander. He's a master of subtlety and taste and his penchant for thousands of details in each of his deceptively simple pieces makes for constant discovery and delight. It's funny to go back to his work on "Here Come the Warm Jets" or even Roxy Music's "For Your Pleasure" and imagine that the same artist would develop into one of the great musical and cultural geniuses of the past 40 years.

Track 13 notwithstanding, this is an impressive, very creative body of work from Robert Fripp and Brian Eno. Too bad there's such a rude face-smack at the end of it though.

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