Andy Summers & Robert Fripp - I Advance Masked

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Andy Summers & Robert Fripp - I Advance Masked

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Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China – Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album. I Advance Masked has a dreamlike quality to it, and is definitely not typical rock music. It's highly recommended to fans of these two great and original guitarists. ~ by Greg Prato

It is always a rare treat when gifted artists come together for a project, and this collaboration between two of rocks' most influential guitarists fulfills that promise and creates just the right blend of rhythmic mastery with atmospheric minimalism. Robert Fripp and Andy Summers guise the music in neutral colors and subdued garb without losing intensity on 'I Advance Masked', a true partnership wherein both players contributed equally, each only adding something to a moment of music if necessary. The result is an unselfish record of constant forward movement and sonic wonders, especially for 1982.

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Andy Summers & Robert Fripp - I Advance Masked

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If you enjoy that style of interlocking guitar melodies that 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 is heavily influenced by traditional music from around the world on this outing. Most people recognize the influence of Indonesian gamelan on his 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, but sound like pure 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 Post Rock, years before either 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. Fripp pulls influence from clasical music from around the world and ends up with a glimpse of the future. From www.progarchives.com