FraKctured - live performances - audient report

24/10/00 - House of Blues, Los Angeles

Music, of course, is not a sporting event. Still, certain ideas can perhaps better be expressed via advanced facility with an instrument; giganote runs by a spidery-handed guitarist like Crimson’s Robert Fripp may somehow express things that are beyond the ability (or interest, or whatever) of a lesser-equipped musician. Nowhere was this more evident Tuesday night than during the new “FraKctured” and “Larks’ Tongues in Aspic Part IV,” when Fripp made breathtakingly lengthy, furious runs of ferocious precision and frightening colors. It was dark, borderline-incomprehensible stuff, full of menace and malevolence, music that in its otherdimensional complexity and bizarre grandeur more than verged on the demonic. One was left in awe of both the music itself and Fripp’s technical prowess — as well as amused at the novelty of seeing someone play that many notes in a Sunset Boulevard club without once wagging his tongue.

from A Room for Music
by Josh Kun

From Trey Gunn's diary at www.treygunn.com

October 24, 2000 -- House of Blues #2 / Los Angeles, CA

Hmmmmmmmmmm......... well...........hmmmmmmmmmm....... Funny night for me. A very strong beginning with Lark's IV. Very strong. More strength to follow -- ProzaKc, TCOL, FraKCtured. And then the show began to sag. The projekcts were very lame. They just sucked the life out of the show. I think both Robert and Adrian heard practically nothing to play on these. In between, and around, this we had One Time (which was the worst I'd seen it come off) and Dinosaur (which began to redeem the show.) Then things began to pick up again. By the encores, the performance was back to where we like to see it. Thrush and 3 of PP, were hot. (as usual. how boring?!?!) I'm really loving playing the end solo of Thrush with the Smokey amp -- fantastic feedback and overtones emerging and converging.

Heroes had something very powerful going on inside of it for me. I suppose it may just have been 'personal,' but my heart began to tear apart inside of that piece. I suppose one of the things about a 'classic' piece is that something both 'universal' AND 'personal' can speak through it. For me this was one of those moments.