ProjeKct Four - Live in San Francisco, 1998 - Reviews

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Reviews are listed in chronological order within each section. Please retain a chronological order when adding new reviews.

Entire Release

Date Submitted: 1-Oct-99
By: Wes Jensen (wjensen at bellatlantic dot net)

"i think i just heard the next Crim!

"its funny how the ones you expect the least from, totally blow you away! this is fantastic on all levels, especially PM, really gets to shine and i might add that it makes me look forward to the BBless KC. which i would have never thought could work for me but P4 kicks ass! its new but comfortable, like the '80s Crim thrakking out in a way. gets better with repeated listenings!


Date Submitted: 3-Oct-99
By: Antoni Mateu (mvidal20 at pie dot xtec dot es)

"Catalan Language:
"Després de la primera escolta: sorprenent.

"Sembla que els camins de KC hagin d'anar per aquí. És a dir, lliures del projecte del doble trio, i amb unitats més petites, independents i intelligents sembla que es puguin aconseguir més coses.

"Compareu amb Thrakattak: The Roar of P4 és molt millor.

"Spanish Language:
"Después de la primera escucha: sorprendente.

"Parece que los caminos de KC tengan que ir por aquí. Es decir, libres del proyecto de doble trío, y con unidades más pequeñas, independientes e inteligentes parece que se puedan conseguir más cosas.

"Comparadlo con Thrakattak: The Roar of P4 es mucho mejor."

Date Submitted: 4-Oct-99
By: Sean (spg120 at email dot psu dot edu)

"The music is quite dense and very polyrhythmic and very intense."

Date Submitted: 10-Oct-99
By: Bill Campbell (StmWatch at aol dot com)

"Now this is ConstruKction: heavy, light, dark, brooding, menacing, inspiring and completely wonderful to hear! In just one week, this live disc has become my favorite improvisational Crimson recording. The highlight of this concert, for me, is Seizure, in which Tony and Trey duet in a powerful way. Their collaboration on this piece provides the backbone for Robert and Pat to charter new territory together. Though I prefer acoustic drums, Pat's incredibly inventive electronic drumming provides endless enthusiasm for the other musicians, and propels the music into unanticipated directions. In my view, the unsung hero of this musical outfit is Tony, who can express more in one note than others in fifty. Never before has his playing been so understated, yet so complete. I truly thank the musicians and DGM for this wonderful recording."

Date Submitted: 2-Dec-99
By: Ian Miller (IG.Miller at schwab dot com )

"I was at this show and I can tell you that the sound on the CD is significatly better than what I heard there. The drums were almost inaudible live. Also, Fripp addressed the audience, which isn't included on CD. Anyone wondering how they manage to bust into things like Heavy ConstruKction out of nowhere might be interested to know that Fripp would make eye contact with Gunn and then do a four count by shaking his index finger. Things like that were extremely interesting live, but musically, the CD is far more impressive than the live mix. By the way, at the show, early on, Pat cracked a stick and tossed it to the audience. The guy next to me caught it and gave it to me, which I still have. Vic Firth Buddy Rich model. Also, I don't think I've heard more risk taking going on musically than on this CD. My jaw was on the floor the whole show and is there every time I listen to this baby."

Date Submitted: 10-Jan-00
By: Brian Nestor (bpn at twave dot net)

"Here is a curious release: On the heels of the massive ProjeKcts box comes yet more Fractilization. However, the pacing is backwards during this show, with many songs starting furious and then curiously beoming lighter and lighter i don't think I have ever heard that trick before!

"It is also instructive to listen to various players stopping and sitting out for awhile - another unique feature to this disc. The hands-down winner in these jams must be Tony Levin. I will admit he never really did anything for me, particularly after the monster bass playing of John Wetton. But on the third track there is a veritible orgy of bass, with a groove a mile wide, set down by Levin.

"In fact, it will be interesting to see if Trey Gunn chooses to really play conventional bass as we know it in te next KC. His style is really very close to RF, and he tends to favor the higher end of his stick. Tony Levin has expressed his desire to rejoin KC, and after hearing him on this disc, I'd like to see him there too!"

Date Submitted: 31-Jan-00
By: Michael Coffey (mifilito at spin dot net dot au)

"Just briefly - this along with the ProjeKcts box transcends the Great Deceiver as my favourite KC release. No disrespect to Adrain B or John W but the KC I like best is the 'no vocals' material. My fovaourite KC is located in the 1990's to 2000's. I first liked Fripp's guitar when I heard No Pussyfooting's Swastika Girls.. I used to wait patiently for those first primal notes.... Despite being an apparent gentleman Fripp (albeit full of his own legend) he can often play with such a primitive passion and spirit of exploration and the P4 show has much of such passionate and risky playing, and Pat and Trey and Tony are equal in their risk taking and adventure..."


Date Submitted: 5-Apr-00
By: Greg Smith (gsmith at avana dot net)

"Reminiscent of The Talking Drum - a thunderous, pulsating bass groove laid down by Levin and Gunn. The highlight of the ProjeKcts in my opinion."