ANDY SUMMERS — I Advance Masked (with Robert Fripp) (review)

ANDY SUMMERS — I Advance Masked (with Robert Fripp) album cover Album · 1982 · World Fusion Buy this album from MMA partners
3.5/5 ·
js
If you enjoy that style of interlocking guitar melodies that Robert Fripp pioneered in the early 80s, then you will probably want to get this album. I actually think this album is probably one of his most successful efforts in this area. The difference with this album is the abscence of a rock beat on almost all of the songs, this really allows the guitars to stand out on their own without a loud beat to battle with. Fripp and Summers are heavily influenced by traditional music from around the world on this outing. Most people recognize the influence of Indonesian gamelan on Fripp's music during this period, but there is also a strong African influence as well. Mbira or thumb piano music from Rhodesia seems to be a strong factor in songs like "Painting" and "Dance". Also, the interlocking guitar style of 80s pop bands from what was then known as Zaire seem to be an influence as well. Traditional music from China and Japan are also an influence on this almost classical sounding album.

Although busy guitar work dominates most of the songs on this album, there are some exceptions. "Under Bridges of Silence" is a sombre ambient soundscape and "Girl on a Swing" is a peaceful Asian influenced melody. "In the Cloud Forest" features Fripp playing a free-ranging solo with his classic Frippertronics guitar sound, something I wouldn't expect on an 80s record. Another interesting song is the title track which is one of the few songs with a pronounced drum beat. It sounds like the perfect blend of 80s Crimson and the Police only without the vocals. There are other songs that are in styles that are hard to describe other than that they sound like styles unique to Summers and Fripp.

Another interesting aspect of this album is the way in which it seems to predict the arrival of Math Rock, and to a lesser extent Nu Jazz and Post Rock, years before any of those genres had a name. I think this album is closer to what is called Math Rock today than Fripp's work in the early 80s version of King Crimson.

This is a great album that sounds better everytime I hear it. Summers and Fripp pull influence from clasical music from around the world and ends up with a glimpse of the future.
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