The ConstruKction Of Light - Reviews

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Entire Release


Date Submitted: 16-May-00
By: Tero Valkonen (tero.valkonen at helsinki dot fi)

"Since I am unable to contain my mirth any longer, I must present a review of The ConstruKction Of Light. Let me say this first: it is a remarkable album and one that will definitely endure. Right now, I rank it up there next to Red and Discipline. Crimson at its best.

"I have not read Elephant Talk in years, but I have occasionally glimpsed at the DGM Guestbook. Thus, I was aware of some of the expectations and discussions surrounding the album. After being a music critic for some years, I have come to this conclusion: when it comes to conservatism, rock enthusiasts compete only with the pope. The sole explanation I can give is that many people don't actually dig the music when they listen to their old favourites. They dig their own past. And they want it to appear again.

"It would be ridiculous to say that Pat Mastelotto has replaced Bill Bruford. Mr. Mastelotto's playing is entirely different, and it is absolutely right for the album. It was interesting to listen to the ProjeKcts box set, because the musical discrepancy between Robert Fripp and Bill Bruford was painfully evident. Bill Bruford's playing was superb, no question about that, but the dryness of the acoustic drums did not work with Mr. Fripp's electronic textures. Musically, I found ProjeKct One splendid. Sonically, not.

"The ConstruKction Of Light is an electric (in at least two senses of the word) experience beginning with a surprise. Blues? Yes! A low, humorous Adrian Belew (or should it be Adrian Bellow?) voice over an irreverent guitar. The piece is a close relative to Red in the sense that they both ride a single riff for all it's worth. ProzaKc Blues, however, lacks a "middle section", probably because its structure is taken from the blues tradition.

"The title track is quite magical. The guitar interplay clearly alludes to the Eighties Crimson. This song is a nice counting exercise (it took me a while to figure out what's going on in various sections; one of my favourites would be where Pat Mastelotto jumps into 5/8, giving the others a steady ground to play around), but, more importantly, it's also an incredibly well constructed piece of music. It must also be sheer hell for Adrian Belew to perform in concert; even more difficult than Three Of A Perfect Pair. The vocal melody is Belew at his best. The song is firmly rooted in the band's history but not limited by it.

"FraKctured is something taken from a good horror movie. The mood in the slower sections is disquietingly menacing and oppressive. I can easily imagine Hannibal Lecter going to a cafe and asking for a decapitated coffee while listening to something like this. The ultra-fast parts are sheer nightmare (the guitarist might agree with this, but for an entirely different reason). Notice how Trey Gunn joins in near the very end of the distorted mayhem. Notice also that the song doesn't come to a conclusion. It simply ends. (This, I think, is what most clearly differentiates it from Fracture.) It alternates between painful expectation and something comparable to a panic attack, but leaves the situation unresolved. Something is and remains fractured, but what? This is a song I will often return to.

"There is no question in my mind that Into The Frying Pan and The World's My Oyster Soup Kitchen Floor Wax Museum fail to be as strong as the other pieces. Neither of them is structurally very interesting, and both of them are burdened by over-abundance of guitar solos. Incidentally, the whole album has very much soloing on it. Some of it is superb (Larks' Tongues in particular is spellbinding), but these two songs gain little, if anything, from the solos.

"Here I must pause for one second and present a small moral fable about negative criticism. This is a quote from Woody Allen, who was quoting one of his characters. "One must never take criticism too seriously. My first short story was harshly denounced by one particular critic. I brooded and made caustic remarks about the man. Then one day I reread the story and realized he had been correct. It WAS shallow and badly constructed. I never forgot the incident, and years later, when the Luftwaffe was bombing London, I shone a light on the critic's house."

"So what more could I be negative about? The cymbal sounds are not very thrilling to my ears. The "china" type sound especially gets tiring rather quickly in the title track. Also, I don't expect to smile at the suggestion "get a haircut" (from The World's My...) in 2017. It's a bit of a pity that the only track where Adrian Belew's voice isn't treated (as far as I can tell) is the title track. I think that's about it, and even this is quibbling.

"Larks' Tongues In Aspic - Part IV. Familiar themes come and go. Very little else is familiar. The song steadfastly refuses to settle down; instead it continues to plunge forward and paint a very bleak picture of the 20th century. The words as such wouldn't be worth much, but they do have an immense power in the context they are put in. They continue to give me shivers. Towards the end of the Killer Riff Of Doom (in the second part of the song), notice once again how Trey Gunn joins in. This trick is not spoiled by repetition.

"I would say that there is more sunlight in the world now. That is what The ConstruKction Of Light does. That is what each important work of art does. It presents a view of seeing things, or perhaps an interpretation of things seen. This can be analyzed musically (I will not attempt it now; I've used so much space already), but it can also be sensed very directly: this is the first album in years that has made be both laugh out loud and shed a tear on the same listening. This was the immediate response, and as such is a guarantee of quality for me.

"This album will be easy to dismiss, because it is difficult to listen to: you will have to engage yourself. You can't rely on what you know, either. The album made me think of the position of e e cummings in modernist poetry. He used the same language as others, but in an entirely different way. Here we have another example of this: the building blocks are the same, but the result is entirely different. The building blocks are commonplace, and the trick is to manage a transfiguration of the commonplace. This is precisely what the new album does.

"And this is my final question: how could they manage to fit so much vitality into such a small piece of plastic?"


Date Submitted: 23-May-00
By: J. Eric Smith (jes at jericsmith dot com)

"King Crimson's twelfth studio album offers a few departures that may pose problems for those fans who kowtow small-mindedly to hobgoblins of foolish consistency. It's the first Crimson release since 1972 without drummer Bill Bruford, for starters, and long-time bassist Tony Levin is also absent after a two-decade run of anchoring this thinking-person's metal band with his supple, gargantuan rhythms. The six-piece "double trio" approach that defined King Crimson's mid-'90s period is gone, too, leaving a leaner, sparser quartet in its stead. And this persistently forward-looking ensemble also appears to be peeking over its shoulder a bit, resuscitating themes from the 1972-74 era in "FraKctured" and "Lark's Tongue is Aspic, Part IV," then nodding to Crimson's four recent small ensemble, improvisational outings with an epilog cut credited to ProjeKct X.

"So those are the departures, and if you can't conceive of a King Crimson under those terms, then, well, you honestly don't deserve the vibrant auditory experience that this new work offers, since Crimson has always been about continuity through change, and magic through music, regardless of who's making it. And you should know that, if you know enough to worry about Bill Bruford's departure. Guitarists Robert Fripp and Adrian Belew, drummer Pat Mastelotto and bass touch guitar player Trey Gunn have certainly kept that central Crimson ethos close to heart in crafting this collection of intelligent, yet somehow positively gutsy, visceral, id-driven songs. All of which rock in ways that Crimson hasn't rocked in quite some time, if ever.

""ProzaKc Blues," for instance, hearkens back to the days when a straight-forward stomp a la "Ladies of the Road" had a place in the Crimson pantheon, while the angular "The World's My Oyster Soup Kitchen Floor Wax Museum" clatters in ways that Crimson hasn't clattered since Jamie Muir put away his talking drums and singing saw. The justifiably legendary Fripp-Belew guitar interplay is tight, yet intense and emotional, throughout the new record's run, and Belew's surrealist lyrics are delivered in the most choked, strangled, twisted and processed vocal style he's ever committed to record. Which is good, mind you, as is the exceptionally muscular, yet loose-limned rhythmic patterns dropped by Gunn and Mastelotto, particularly on the latest thirteen-minute installation of the "Lark's Tongue" series.

"You simply can't do any better at looking forward while respecting and acknowledging your history than this."


Date Submitted: 25-May-00
By: Bubba Dick (bubba_dick_99 at yahoo dot com)

"I was excited about the release of the new Crimson. I've just recently gotten more involved in listening to them, after having been introduced to them by my spiritual and musical mentor, Mahone. To begin, the packaging--often left out of reviews--is nicely understated. There is no real indication of what to expect inside save the song titles and personel listing.

"ProzaKc Blues: Is anyone else shocked to hear a simblance of a I IV V progression from KC? Overall, the song seems more like a novelty song than a lasting classic. The leads didn't appeal or please. Fripp and Belew sound out of their element in regards to lead phrasing in this particular progression--ergo, the leads sounded tacked on. The song could have said what it was intended to say in 3 minutes or less, as opposed to dragging on for 5 and a half.

"ConstuKction of Light: Good interlocking guitar work. The first part of the song exists more as background music as far as I'm concerned. It was not engaging to the point that it held my attention. The vocals in the second pafrt are very pretty--I love Adrian's voice. Always have. I first fell in love with it when a friend played the Lone Rhino album for me. (swiiiiing line--through the backyards of the mid west)

"Into the Frying Pan: Great song. This is the most commercially viable song on the album--and I'm not presenting that as a bad thing. I'm not accusing anyone of selling out. Bills must be paid. Stellar vocals, beautifully processed. Processing was used to enhance a great vocal performance, not for the sake of processing a vocal, as some bands are guitly of. Great backwards solo from Adrian. How does he do it? His backwards guitar invariably sounds orchestrated and intentional whereas with others, it is clearly more serendipitous.

"Frakctured: More interlocking guitar. God, how do they do it? And how will they bring this off live? Please come to Atlanta, King Crimson. Fripp takes off at about 1:30, flying his alternately tuned aircraft through turbulent air. Any other pilot would crash and burn at the yoke of this bird. He kicks in a maniacal sounding distortion at about 5:20.

"The World's My...: Palpable tension is created by Fripps guitar soloing and guitar synth. "Get Jiggy Wid It?" After a complete listening I wonder if Adrian has recently completed a course in African American studies. I would be so happy if these ebonics-laden colloquialisms could be kept out of Crimson's music. Next we'll hear Fripp call out, "Don't go there, girl frien'" from his stool. Oh, and I finally got the title. Read it as couplets.

"Larks' Tongues in Aspic IV: Ahhhh. The true defining moment of this recording. I wouldn't have believed before hearing ths that there exists a man that create enough tension with a guitar to make one uncomfortable. This is barely controlled chaos. One expects it to fall apart at any moment. This is a true edge of your seat listening experience. I propose that all the death metal and goth bands could listen to this song and learn something. Coda-I have a dream: Rodney King and OJ. Goddamnit Adrian. I am so jaded with this liberal sounding crap that it invariably ends up sounding like pandering. Lets keep that progressive rock progressive, shall we? We already have a "we are the world." Am I the only one who would indicate that I don't look to KC for societal issues? I'm glad the acoustic version was left off the album.

"Conclusion: Larks tongues 4 makes the album worth it. Great performances by all when sticking to their idiom. Memorable moments abound, along with a few annoyances."


Date Submitted: 26-May-00
By: Fabio Riccardi (Fabio_Riccardi at ditv-philips dot fr)

"I have been listening quite a bit to the Projects CDs in the last few months, and I expected the new Crimson CD to directly derive from them as a kind of summary, a somewhat distilled version of all thas raw material.

"Nothing like that, the first hearing was a surprise and a shock. And I didn't like it.

"It has only been on track four - with the magic inconsequence of Adrian's "I was thinking about..." - that I finally grocked what was going on.

"TCOL is a great album, a gift, a refreshing experience. I love Adrian's humorous style of singing - something like Soundgarden gone Beatles - just brilliant! The rhythm section provides the space and the tension for the melodic texture to evolve, surprising me, keeping me awake.

"I'm looking forward for the June concert in Paris!"


Date Submitted: 29-May-00
By: Jamie Lochhead (djl at atacama dot co dot uk)

"I'm sorry to say that I have found The ConstruKction Of Light slightly disappointing, at its best it is superb, but it seems to lack consistency. That said I only find it disappointing by the very high standards Crimson have set, Red, Discipline, The Great Deceiver, and for me The Roar of P4.

"The Projeckt 4 releases (West Coast Live and Live in San Francisco-The Roar of P4) offered a rhythm section unlike anything I have heard in rock before, fusing the sounds of techno with Crimson's traditional off beats and experimentation. I know this was an experimental live project, but TCOL seems to be a step back in comparison to Pat Mastelotto's live drumming.

"On the positive, I find the reworking of Fracture (FraKctured) absolutely amazing, the precision and energy in the band's playing makes this a wonderful addition to their repertoire. The title track is reminiscent of the track Discipline, light and airy, again with some fine playing. These two tracks make the album worthwhile for me.

"Elsewhere 'Into The Frying Pan' and 'The World's My Oyster Soup Kitchen Floor Wax Museum' are OK, but I think that 'Larks' Tongues In Aspic Part IV' maybe had too much to live up to following parts I, II, & III. All I can say about ProzaKc Blues is that I usually start the album at track 2, it may grow on me, but I doubt it - I'll keep trying.

"I wonder if working under the name King Crimson has put pressure on the band to produce an album worthy of the name, and perhaps lost some of the energy and experimentation of the Projeckts in the process, or perhaps I was expecting a studio 'Ghost' or 'Seizure' too much.

"It may be a different case live, I'm certainly looking forward to seeing them again, they remain one of my favorite bands, and most importantly they remain a law unto themselves, producing new and challenging music. I can think of no other band who have been making music for over thirty years who can still combine the raw energy of a band like The Prodigy with the musicianship and invention of someone like Miles Davis."


Date Submitted: 30-May-00
By: (cybercafeuser at netadventure dot co dot uk)

"On the first listening, this album seemed a disappointing follow up to Thrak (my 2nd favorite Crimson album after Larks Tongues), but after listening to it a couple of times on a long train journey from Glasgow to Birmingham on a personal stereo, I was forced to change my mind. The tongue-in-cheek 'Prozakc Blues' was an excelent light-hearted opener for what was a progressively more complex and heavy album.

"I was very impressed by Frakctured- although a remake of Fracture, this was sufficiently different to justify its inclusion on the album, though it took some time for me to begin to get into this highly complex track. Larks Tongues part IV, another re-use of an old Crim theme was also worthy of its predecessors, and my second favorite piece on the album. This is an excellent piece that impressed me from the first listening, and a typical Crim track that encompasses the musicality, skill and power that one expects from a Crim opus.

"In my opinion, the best track on the album is 'Into the Frying Pan'. I found the pomp of the Projekct-esque opening and themes worked well with the Beatle-like vocal sections, which were powerfully performed by Belew (though the vocals sounded like various Adrian Belew tracks that I have heard). This is an incredibly dark piece, and I look forward to hearing a live version.

"Overall, I feel that the album bodes well for the new line-up, and to be honest, the double trio was an extremely hard act to follow. I hope that this line up releases more albums.

"And by the way: the Projekct X track at the end rocked- more please."


Date Submitted: 30-May-00
By: Bill N. (billrn at prodigy dot net)

"Well, after five years, some Crimsonesque personell shifts, four projekts and about a thousand in-between-album albums, we have a new, proper, studio album from Crimso. The prospect is quite exciting, and there is quite a lot to be excited about.

"As a foursome, our beloved King come up with a lean and consistant album. They have scrapped the kitchen-sink approach of THRAK (no ballads or bossa novas here) and stuck to very sophisticated mix of industrial, metal and jazz. There is one drummer and one bass player, so the rhythm section can strech without the limits of having to consider a second drummer or stick player. Passages of the music are played over-the-top, but the climexes are well- timed and uncluttered.

"Fripp's guitar playing is also getting better and better. His leads here sound quite natural: quicker than ever, but less flashy, with more subtance and layers underneath those lightening quick runs. Unexpeded but wonderful noises reveal themselves more and more with each listen. Fripp, with matchless assurance, does not always establish a melody line for his solos, but sometimes dives in with full thoddle, free-form abstraction. He's taking the biggest risks of his career here, and they are paying off.

"Yet I can't help but walk away from this album with a nagging feeling of dissappointment. As good as the playing is, none of the compositions break any new ground. The band seems stuck somewhere between "Larks Tounges" and "Discipline" They've been doing these types of hypnotic guitar webs and diminished chord progressions since 1973, and at this late date, the concepts have begun to sound quite stale.

"Crimson play around with indurstrial music here, but they merely tip-toe around the edges. The changes from the last album are mainly cosmetic-- the music is based on fundamentally the same ideas.

"With so many developments in electronic music in the past 10 years, Crimson have many sources they could have mined to expand their sound and make a brilliant, edgey album.

"It's a shame they have come up with something safe. Excellent! You say? Yes. Excellent. But safe nonetheless."


Date Submitted: 1-Jun-00
By: Michael Waugh (KingCrimsonite at aol dot com)

"Art is to be observed, not critiqued! Artist's can only express themselfs......not the observer! The only measure to live up by, is your own!

"King Crimson's present state of mind resides in their latest release, the constuKction of light.After several listening's you will find the textures that indure a lifetime.After all...... thats why masterpiece paintings hang in galleries.

"I only wish their was a"Heartbeat", or a"Walking On Air".Bill or Tony must be the hopeless romantic.......and here I thought it was Adrian.

"Looking forward to the Chicago area shows."


Date Submitted: 7-Jun-00
By: Darryl (zravkapt at yahoo dot ca)

"Another decade and another King Crimson album. I've got to say I didn't know exactly what to think of the new album when I first heard it, but now I love it the more I play it. The overall sound seems to be a mixture of the '73-74 material mixed with 90's metal alas Korn, Rage Against The Machine,etc. and industrial music like Nine Inch Nails, Ministry, Filter,etc. There is also a blues-rock feel to some of the songs too.

""ProzaKc Blues" may or may-not be a good opener but kicks ass anyway. I like the processed vocals and the humourous lyrics. It doesn't exactly sound like a standard blues song in any case, but then again this is the King Crimson Blues!

""The ConstruKction Of Light" is similar to some of the 80's KC material. The first instrumental part is better than the separate track with vocals. Pat's drumming is really excellent here. Belew's lyrics on the vocal part are among his best.

""Into The Frying Pan" is a great song in and of itself. Although it is mainstream-ish, it's still more complicated than most songs by hard-rock bands. Even if it were a single it would have to be heavily edited. Great guitar playing and singing.

""FraKctured" is almost as breathtaking and timeless as the original 'Fracture' from 1974. Fripp's faster-than-light picking is abundant proof for those who think he hasn't 'got it' anymore. Trey Gunn's bass work on this song is also excellent and the heavy mid-section blows my mind every time I hear it.

""The World's My Oyster Soup Kitchen Floor Wax Museum" has one of KC's most unique song titles. The music itself has some ups and downs to it. I like the overall groove to the song and the playing is great, especially Fripp's 'spider fingers' solo with guitar-as-piano. The vocals and lyrics seem to me to be Belew's attempt at rapping!

""Lark's Tongues In Aspic IV" didn't do much for me upon first listening. Now, however, after giving these three tracks a better listen I'm growing to love them. What I didn't like at first it seems was the guitar work; nothing new or exciting was happening. But now it's the rhythm section that I like. By far the most impressive parts of Lark's 4 are Pat's drumming and Trey's bass work.

""Coda: I Have A Dream" really works well as a 'coda' to the album. The lyrics may be controversial and dated in some cases, but the delivery of the words matches the intensity of the music. The synth notes add to an excellent guitar solo by Belew.

"ProjeKct X's "Heaven And Earth" I have to admit is the one song that grows on me the most. I didn't like it the first time and always skipped it. Now I always play it. There are some good moments in there especially Pat's drumming and Robert's guitar playing. Overall, a great album. ****(out of *****)"


Date Submitted: 8-Jun-00
By: (victoria at cambiehostels dot com)

"After listeningh to TCOL for a few times I must say it is starting to grow on me. The first listen was difficult but interesting, as I expexted it to be. Not the catchiest stuff, but that's not a bad thing. Kc's music that has moved me most has been works like Talking Drum/Lark's Tongue II and Starless, music that has a catch to it. Sadly TCOL doesn't quite live up to this high standard.

"Prozac Blues intrests me very little. Maybe it'll take a few more listens. The title track is good, but the interlocking guitar thing wears thin without a definite groove to carry it along. Adrian's vocal part is nice though.

"The two shorter, song-like pieces are okay, but a little long, with too much noodling. I love the lyrics to The World is.. Great stuff! Very clever.

"FraKctured is a good piece. Tension and release. Again, too much of a good thing and no defining moment to bring the piece home. The latest instalment of the Lark is my favourite. The way it builds up to the climactic, apocolyptic coda is just superb. I cannot stop listening to it. I love a good "the world is all going to hell" name/event dropping session. Makes me feel like he really has a point. Not that that's a GOOD thing, but musically it sounds wonderful. I cannot wait to hear it live.

"The ProjeKct x piece is very good. I have yet to find any more ProjeKct releases aside from the first ProjeKct two album. I saw ProjeKct 4 live in Vancouver and it was very entertaining. I hope to get more ProjeKct music soon, as the samplers on the DGM site are very tempting.

"All in all I'd have to say that I like this new album, but not yet as much as some others. Rd is still my favourite. I'm just glad I don't HAVE to live in the past, as with a few other "progresive" bands I could mention. Its nice to see Kc still evolving and producing great music. I think Fripp is an absolute genius. I'm disapointed that Bruford and Levin are not to be found here. I hope the parting was amicable and that they will sooner or later be back.

"I can only hope that Kc tours North America soon with a date in Vancouver again please."


Date Submitted: 11-Jun-00
By: Antonio Colorado (johnclayton at saintly dot com)

"Frakctured and LTIAIV + Coda were the best for me...

"Frakctured takes you on a journey through some space were chaos and order reign. Pieces of structured and continuous guitar sounds...taking you for a ride through emotions of control, desperation, angelical ambience (4:23 describes it perfectly). At the end, emotions of desperation, locking thunderous structured explosiveness....travelling at shocking speed, The Crimson quartet takes us into a crescendo where the climax manifests itself in pure controlled guitar distortion, bass pulsing thumping hammering, killer dark and astounding drumming, all encompassed to provoke a feeling of eerieness while at the same time taking our soul into a higher level of transformation through feelings of power, anxiety, chaos, order, desperation, peace, and most of all, in my case, a feeling as though the riffs travel through my soul, electrifying my own being....charging it through this bombastic musical expression......

"Comments...later, if you want to know I'll tell you what I thought of LTIAIV....

"Adrian...."get jiggy with it"??? well, I guess only you understand...or that's the point....anyway....I love your work....your talent...Prozac Blues....boring....Everything else was a really good work of art.....

"Trey.....Lots of power on your playing...some nice overpowering memorable moments...you have to trip more on the notes....make the bass what you made of it, but still, you can add so much melodies inside the rythms.....go through the notes...high and low....take us through heaven and earth if you will....

"Pat.....sound kind of like an industrial progressive drummer....I have never heard that one but you are it....you are kind of simple...but still you are unique....and awesome in your own way...very powerful.....

"Robert....Blew my mind and my spirit...made me fly through heaven and hell....through order and chaos....well, I don't know exactly which parts Adrian played but I guess you did the solos??? anyway, you explode in LTIAIV and I was really impressed....electrifying chaotic and explosive guitar playing....still.....I know you still have it in you to mix some melodies in the uncertainty and sometimes vagueness of your guitar playing....If you want to take me to Heaven and Hell and make me stay in both places for awhile (not just cruise through them), I ask you, as a favor, as a fan, to please just make one song with melodies that scorch my melancholic mood, as in Matte Kudasai or Starless...lately you are just bringing moods, a lot of times with consistent coherent patterns, but not the sound that will make me weep...you play notes....sometimes as they come right out of your brain....try to push yourself forward to create them in a more melodious way that will bring me to nostalgic, melancholic weeping of the mind and soul....or rejoicing ..... I don't know if I have made my point....I bet you have so many melodies inside your head but I feel you are afraid or uncaring about bringing them forth...or....they don't exist anymore inside you??? Darwin said he lost his humanity somewhere down the road because of trying so hard to understand everything about the behavior of beings.... I hope you haven't lost the melody..... I feel your presence by the discipline and explosiveness, controlling and full of patterns rythms, but I need some melodic spice also.....I want my burger with everything...extra onions if you can..don't take them out!!!......could you make me one like that? just for fan's sake? :)"


Date Submitted: 13-Jun-00
By: (cafe1 at beachin dot net)

"I recently purchased this piece, almost first hesitating after noticing the four-piece personnel listed, about a week after its release. I was shocked at the absence of Levin AND Bruford. Nonetheless, the album works itself out to be quite interesting and I can certainly respect it from top to bottom.

"The title track is superb. It's hypnotic and exciting and everything to rant and rave about. I especially dig the split in the track between instumental ConstruKction and the ConstruKction where Belew's vocals come in. Another stong point is the nine-minute FraKctured. This instrumental is characteristic Crimson.

"Other tracks like In The Frying Pan and Heaven And Earth are also intriguing whereas the rather comedic effort, ProzaKc Blues is not one to miss. Overall, this is the next record in the King Crimson discography so pick it up!!"


Date Submitted: 14-Jun-00
By: Jamie Hite (hitej at frontier dot pinellas dot k12 dot fl dot us)

"KC's new album gave me mixed feelings.....The 1st track would have been better as a shorter CODA than a 5:29 romp. The rythm and blues time was neat but the Slow voice got very old. THAT was the only track that I have to say I didn't like. The rest of the album is GREAT crimson.....I especially love the creativity in "into the frying pan".....this song has market potential.....especially since I think must of us are tired of the mainstream rock that is out right now. THis album gives you a taste of KC albums through its career......Lizard, Red, Disipline, Thrak.... this 4 piece has a thicker sound... Pat's drumming is great and meatier.....although I miss the raw jazz that Bill offered. The guitars are so creative.......Boy! does Fripp shread in FraKctured.......his guitar effort on this album was a shock... this guy isn't slowing down at all....I hope they follow up this album. I would even like to see what they could do as a 4 piece again. Overall, this is a refreshing and totally pleasurable album.......Cudos!"


Date Submitted: 16-Jun-00
By: Gennadi A. Orlov (gong at ur dot rags dot ru)

"I listened King Crimson's albums almost 30 years. For me this album the worst of all Crimso albums. Thank You, Mr. Fripp, you have created many other albums - I shall listen to them."


Date Submitted: 19-Jun-00
By: Sid Wiener (swiener at free dot fr)

"Some echoes and reverberations:

"It took me several listenings to appreciate TCOL (as it did for previous Crim/Frippsolo creations as well as most of my favorite music, classical, jazz, rock, ..). Like a good Oriental rug, i suspect that each time it is examined something new can be discovered. The criterion for me is that an œuvre (music, painting, dance, ..) transforms me in some way, perhaps inducing catharsis, moves me, shows me something new, promotes evolution. While the musical technicalities of time signatures and novel guitar tunings are beyond my understanding, it seems that TCOL is denser and more profound than some work of previous decades, and LTIA and Red, my all time favorites, doesn’t sound the same any more.

"Our local retailer (147 francs, or about 20 US dollars for TCOL) had TCOL on headphones for several weeks, and played it on the store speakers (no, everyone didn’t run for the door) permitted me to learn to appreciate it. (Of course with the 20 percent value added tax here, the government is making more than any of the musicians on the sale.) It is already available here in the used CD bins for about 12 US dollars, but, (perhaps thanks to disappointed one-time listeners), there is a chance that it will be available for 8 soon.

"Screaming at concerts : In jazz, rock and blues, applause and whistles after solos or particularly moving lines within a song are part of the tradition. In gospel and R&B, if the audience doesn’t answer back, something is wrong. So if KC titles a song Prozakc Blues, they might be signalling that answering back the singer is a sign that the song works. And the title of Prozakc Blues labels it as a joke- an antidepressant that gives you the blues.

"BTW, i had always thought the (now dead) alphabetization thread was a joke along the lines of separating seeds on CD covers– it seemed that the Roman alphabet forces totally incompatible musics to be adjacent – alternatives include organization by theme or content. And the joke seemed double since if other ETers are like me, they just keep their favorites right next to the player.

"Thanks to all, especially Webmaster, the ET posters with information on links, concert, reviews of potentially interesting music (what music do David Sylvian and RF make?), and the outraged and outrageous posters for their humor."


Date Submitted: 26-Jun-00
By: Tim Rosser (timrosser at bun dot com)

"when I borght my copy of Construcktion of light, I was worried, reading the back sleave, no Bill!, but I shouldn't have feared, this is the most fantastic Crim record yet. Prozac's syncopated discordance sounds at once like both the blues and the crulest satire of the blues, bewidering and brilliant, like the whole album. Larks IV, again, on the sleve it worried me a bit, oh ye of little faith, this is absolutly fantastic, as if being bludgened with a rod of iron imparted the most sensual of auditory pleasures. Everything inbetwwen crackels with idea's 'construckion' has that beutifuly sparse intro, giving the sort of dynamics which no other entiy can match. I'm absolutly delighted, long may I be re-construkted"


Date Submitted: 1-Jul-00
By: (Byrondrake at aol dot com)

"A pretty cool album... very smooth sounding for being so much like alot of crimson recordings, (alot of obscure harmonies and off kilter beats which every single member seems to follow precisely but like they're all playing it for the first time.)
"Prozac blues has a jim morrison feel to it with some nice ecclectic guitar work.
"The ConsturKction of Light is a really cool piece... you can tell some time was spent on this song...similar to the tightness of the Disipline album.
"Into the Frying Pan reminds me of The Bears but some of the better songs that Belew did with them.
"FraKctured is an interesting piece that sounds like some of the very early Crimson albums... Fripp's at it again.
"The world's my oyster soup kitchen floor wax museum reminds me of neurotica (from the beat album) but it's more humorous and schizophrenic.
"Larks' Tongue in Aspic Part IV is yet another in the series...they get better each time...i would like to listen to all these at one time someday.
"Coda : I Have a Dream is dark, you can imagine storm clouds moving in from the beginning...wind blowing through...then it reflects the troubles of this age and the troubles through time...scary but compelling.
"(ProjeKct X) Heaven and Earth is ethereal... could be the national anthem of another planet.

"Great stuff... the imagery is very "in your face" and this is what we want to be carried off into the land of endless possibilities, our own imaginations."


Date Submitted: 8-Aug-00
By: Tim Slater (tslater at peavey-eu dot com)

"This is KC at their toughest. While I don't think TCOL is going to go down as a classic KC album, it is an interesting debut from the new line-up. KC seem to be re-tracing their darker, heavier roots but personally I missed the crispness and diversity most evident in KC's recent releases.

"I'm trying hard to live with TCOL, but learning to love it will be a slow...slow process."


Date Submitted: 14-Aug-00
By: James Barr (deluxereverb_73 at yahoo dot com)

"i'd like to place a caveat here, if i may: if you are a big fan of this cd ("construction of light") or any recent King Crimson/RF , you may want to skip this and move to another review.

"rf has stated repeatedly that he believes his playing is always better on other artist's solo work. his reasoning, i believe, is that he feels less constrained, "looser" perhaps, to run with the ball.i have another theory, but we will get to that soon enough.

"rf has also stated repeatedly (seems to me,anyway) that this "new" KC remain fresh, challenge the listener, etc. one is forced to question why he feels the compulsion to dig up old songs ("fracture" & "LTiA") and re-work them. do you REALLY need to hear another take on these? "LTiA", in particular, seems like a dead horse at this point and it seems he is really trading on glories past. i thought version 3 was bad (3 o.a.P.P.) , but this new one is just dreadful.

"ok, you're saying: this guy's a prick. perhaps i can shed some light on why i feel this cd is so disappointing, if not downright awful. let me start with a basic tenet: this band requires 2 things: a very good producer ( laswell? lanois? are you listening?) and they need better songs. the production on this cd may well be the worst i've heard in years-it just plain stinks. there isnt any attention paid to a groove ( yes, i said "groove") with this rhythm section, and what's worse is that the sound is so dense that making out any semblance of a drummer and bassist working together is a chore indeed. so, after listening repeatedly, i couldn't help wonder why the band felt the need to sound SO BIG all the time. there are sections when a teeny,tiny rhythm treatment would have worked wonders.instead, all the climactic moments are shrouded in a fog of cavernous drums and a behemoth bass. fer chrissakes, fellas! everybody doesn't need to be blowing at once!

"ok, who's next? oh, yes, the guitars... in a word or two: too fussy! when fripp and belew begin playing their interlocking parts it sounds just a wee bit too clean and antiseptic for me. i like a little dirt on my fripp. ya dig? i miss that sound of that old black beauty, and i wish to jehova's sake they would tone down the hard-on for new gear.it has become debilitating. i like new toys, too. but did it occur to anyone that certain pieces may have sounded better with a his Les Paul plugged into a decent fuzz, overdrive and delay pedal? or, GOD FORBID, straight into the amp? (note to rf: drop the guitar synths, it sounds like muzak, ya know? i understand the guitarscapes are close to your heart, but.......it sounds like new age drivel).

"anyway, i'll wrap this turkey up. i think a great producer could clean up the sonic chaos, and trim some of the fat. much of the instrumental work wanders aimlessly- i found myself wondering where the composition was headed (much like latter day Sonic Youth).

"lastly, (one hopes) adrian is simply not a very good songwriter. "oystersoupadnauseum" is possibly the worst kc song i have ever heard. imagine "frying pan" edited for brevity, and i think you've got a decent song. as things stand, adrian waxes earnest about life in these modern times, but sincerity doesn't count for squat, really. take a shmoe like bryan adams: he's probably sincere, too.

"which brings me to my first point: fripp simply sounds more commanding in the presence of a well written song. think not? well, i'm sure bowie, eno, gabriel, hall & oates (don't laugh! "blame it on love" is a GREAT fripp solo!) and countless other artists would probably agree. dont get me wrong: "fracture", "red", "breathless" et al still send shivers down my spine. and i wish to god i could riff like bobby. that said, i'll take those great collaborations with THE SONG over the great riffs anyday.

"ok, had enuff? go to bed....don't be mad, it's just my dopey opinion. nonetheless, i wish old rf would get off his euro high horse and discover a vital component missing to his more recent work, i.e., phrasing.i've been listening to the older cd's to see if my memory is rose-colored and it sounds to me like fripp had a better sense of when to lay back, repeat a theme, mangle it and invite the listener into his thought process on the old classics. he may look down on the harmonic, melodic, and rhythmic nuances of the blues, but time spent listening to lightnin hopkins, muddy waters, and john lee hooker is never wasted."


Date Submitted: 14-Aug-00
By: (Leonidio80 at hotmail dot com)

"hello ppl! i've spend all my money to byu an album and, you know, I think it's the worth music i've heard during all my lifetime..i thought KC must PROGRESS all the time but in this album i hear only things that i've heard already. Mr. Belew must leave his "new" ideas for his solo albums. RObert, Where Are YOU!!!! We are waiting for REAL King Crimson!!! One composition in thjis album is a little bit better than others. It's "Into the Frying Pan". Bassworks are really not "bass" 'cause seems that Pat's performance goes into "baritonworks" and Levin really needed here. Nothing special, but really great disappointment.Sorry, but it's true..."


Date Submitted: 7-Sep-00
By: Daniel Johnson (djohnson at ninetimes dot com)

"KC continues its fascination with the letter K. This album was a surprise for me as I had no idea of its release. When I first put it in a CD player, after a few seconds of shocked listening, I actually had to take it out just to make sure that it was the right one. What I was hearing was ProzaKc Blues. I'm not so hot about Adrian's voice treatment on it, but after a few spins, it grows on one.

"This is a very dark and moody album, that's true. In some ways it is new and completely strange, in others, it brings back memories of older Crimson works. There are hints on Fripp's and Belew's 'polyrhythmic' guitar patterns from the old days. Also present are some of the offbeat guitar rhythms of THRAK. Oddly enough, the guitars sound more like guitars on this album than on any in recent memory: gritty, grungy, tough riffs. The drums (and I use that term loosely) are a different story, however. Let's face it, Pat is no Bill Bruford. His beats are steadfastly straightforward for the most part, with none of Bill's offbeats and intricacies. And then there is the sound. What is he playing here? I'm a drummer and I can't make any of it out. The fact that he is listed as playing 'traps and buttons' is enough to cause worry. He and Bill were good together, especially live, but alone he is a bit weak. Trey is great, more so on his solo albums, but I miss Tony's wonderful bass sensibilities.

"That said, the album is good, more consistent than THRAK. The lowest point for me is The World's my Oyster Soup yadda yadda yadda... It reminds me musically and lyrically of Sex, Sleep, Eat, Drink, Dream, and that's not a good thing. Lark's Tongues in Aspic IV caught my attention and is a large part of why I bought the CD. But in some ways it has more in common with VROOOM with a bit of THRAK thrown in than the other three of this series. It and FraKctured are good, though.

"Standing out is The ConstruKction of Light and Heaven and Earth. The first is wonderful and has cool rhythms. If you have ever heard Trey's solo work, you will instantly recognize him here. I like the division of the first part instrumental and the second with lyrics. Heaven and Earth is so amazingly beautiful that it almost brought me to tears. It has to be heard to be believed. Its sound is a bit different from the rest of the tracks, letting you know that it has different origins. Based on this piece of music alone, I bought the CD that it came from, but that is another review."


Date Submitted: 4-Oct-00
By: Edward Batt (edbatt at 1stnetusa dot com)

"True to their reputation, the Crims have knocked off yet another infamously "heavy" disc, with lots of guitar pyrotechnics and sound effects - courtesy of Robert Fripp and Adrian Belew - which will undoubtedly thrill the diehard Crimheads and leave the wannabe guitar virtuosos gasping with amazement.

"But impressive musicianship aside (not surprising for this legendary band, which has been at the sharpest point of rock's cutting age for more then three decades), this latest King Crimson studio effort sounds essentially like a variation on a well-traveled theme. Perhaps that's why drummer Bill Bruford and bassist Tony Levin are absent from this Crimson line-up, leaving Pat Mastelotto and Trey Gunn to continue in their chores, respectively.

"Listening to that familiar dark and dense Crimson sound and those anguished Belew vocals, one longs for the mysterious and majestic atmospherics of the Crimson classic LPs from the '70s like Islands or Lizard.

"Still, even though ConstruKCtion of Light has no lovely and accessible songs like "Heartbeat," "Matte Kudasai," or "One Time," which used to balance out the dissonant Crimson instrumentals on their more recent CDs, brave and discerning music lovers should nevertheless find this an interesting collection."


Date Submitted: 26-Dec-00
By: Djogo Patrao (djogo at socrates dot if dot usp dot br)

"This album have surprised me, and continues surprising me every time I listen to it. When I first heared it, I didn't liked it, but it's always this way in a King Crimson Album, so I tried a second and third. And now I think it's one of the best KC albuns I ever heared.

"In fact, it's very like the Thrakk, in the sense of sonority of things. Thrakk and TCOL are electronic-sounding albuns like Discipline, but with the power and heaviness of the legendary Larks Tongues, Starless and Red albuns. But TCOL are very better than Thrakk (I think), just because of the songs:

"The Construction of Light is beautiful. Lark's Tongues IV is as heavy as the I and II, as good too. FraKctured is as (or more) complex and mind-intriguing as Fracture, with a different ``dressing. Into the Frying Pan and My World's..., as my friend Jota Paulo said, looks like ``grunge (imagine mr. Fripp playing in pijamas as did kurt cobain ^ ^.. just kidding) and I agree with him. Belew's singing rememebered me beatles.

"Robert Fripp shows no mercy playing fast thing and showing he's not decadent as most musician of his age. Instead, he continues evolving in his unique style.

"Belew is a great singer and player, and in this album he's in great shape.

"I didn't know very well the style of Trey Gunn, but it seemed to me, in this album, very like the Tony Levin's style. Extraordinary bass lines!

"Pat Mastelotto is the most differencial of this album compared to previous ones KC's. When you're expecting to hear a Brufford-typical passage, he does it in a completelly different way, and it's great.

"Abstract: It's a great album. Buy it. Buy the shirt. Go to the show. Praise King Crimson. :)"


Date Submitted: 29-Dec-00
By: Adam Mizelle (adammizelle at earthlink dot net)

"One of the treats of this album is Belew's guitar playing. His preference for working in a quartet is well known, and the setting has allowed him to reward the listeners with some of the sickest solos he's taken on a studio album. Contrast this with THRAK, where he was asserting himself more as a songwriter and the few solos he took were good, but failed to inspire. Mr. Belew relies on the gadgets less but still demonstrates why he's one of rock's finest, and the turn-taking solos on 'Oyster Soup' and 'Larks' 4' are sheer brilliance. Now, if they only scrapped that silly coda . . ."


Date Submitted: 16-Mar-01
By: Joseph Bone (bonej at oak-hill dot navy dot mil)

"I picked up my copy in Israel. I couldn't listen from start to finish at first. It was so much to listen for all at once (Swiftness). Seems there is a variety of speculation about it meaning. I like it. It is the work of a Master Construkctionist(s). Thanks. Cannot wait for the next works."


Date Submitted: 21-Mar-01
By: Mike Mclaughlin (mikemclaughli41 at hotmail dot com)

"Having had much time to absorb this album (about a year) and in that time seen it played live (in London) and bought Heavy ConstruKction and hence revisited the live performances, I feel I now have had enough time to give my two cents on this album so here goes. I first picked this album up on it's day of release bought it immediately and rushed home and locked myself away until band practice listening to the album and reading my (sadly damaged before purchase) liner notes (I like to read lyrics as I listen to a song for the first time if possible) and my first impression as ProzaKc blues pounded in (even after hearing the pre-release real audio version on DGM's website) was "King Crimson do blues?" not that it's a bad track (it positively oozes the kind of audience friendly bounce of Elephant Talk and Sex, Sleep, Eat, Drink, Dream,) but I wanted to hear the rest (just looking at the titles had my interest piqued). The ConstruKction Of Light is a very intricate sounding instrumental with some nice movements and even some singing at the end (which is in a whole new dimension from all the previous Crimsongs) the whole track is indeed still growing in my estimation. Into The Frying Pan followed this. Now Into The Frying Pan has to be in my opinion the closest thing Crim have done to pop (with the possible exception of Heartbeat which in my opinion IS a pop song done by Crimson) not to it's detriment however I truly enjoyed this track (even more so when I saw the band live it sent shivers down my spine) it was on this song that I first started seeing flaws to electronic drums, in my opinion the samples (no matter how good) never sound right (and I'm usually not picky about such things being a mere amateurish bassist). FraKctured is a revisitation of the original track from Starless and Bible Black, no-one denies this, not even Fripp (the title is proof enough) however this in itself is no bad thing and when you listen to the carefully measured guitar interplay between Fripp & Belew (bearing in mind that these guys are playing in different tunings and so visual cues are almost useless) coupled with the reworking of the original's themes, it leaves one skipping back to listen to it again and again and...oh yeah there's the rest of the album too. The World Is My Oyster Soup Kitchen Floor Wax Museum, now I may be very dull (no doubt there) but it took me a while to notice that this song's lyrics are more than mere random words but in fact a very clever word association is in place throughout the song (this kind of lyric must've taken belew a little while to assemble) the music is very quirky and the "spider fingers" solo is to my mind quite reminiscent to the bizzarity of the piano fills on Cat Food. Now on to the track that hit me hardest first time, Larks Tongues In Aspic Part IV/coda: I Have A Dream, Robert Fripp in the diary extracts found in the tour program said that this track made Larks tongues part 2 seem like a nursery rhyme, he's right this is a brutal, vicious, savage instrumental very reminiscient of Red, THRAK, VROOOM, and to a certain extent The Devil's Triangle, and yet the coda is far from this (although the album version remains highly distorted) the lyric deals with some of the more negative aspects of the 20th century over a forever descending (as in VROOOM and VROOOM VROOOM) guitar arpeggio (the first part of this album I learned to play myself) after this brutal piece of music the lyrical section (of which I have heard two versions one is Ade solo on acoustic guitar which I downloaded from mp3.com which I must say brings out the simple beauty of "I Have A Dream" the song, as opposed to "I Have A Dream the coda to Larks) is a piece of slight relief, not that I dislike Lark's Tongues In Aspic Part IV in fact I love it but it is a very heavy piece of music (heavy in the true sense as opposed to the Heavy Metal sense). We are then treated to the ProjeKct X track which to me is more than enough to allow this album it's (in my opinion) slight flaws (too heavy too constantly, "a remorseless forward motion" to quote an obvious source, and a little cliched(not a word usually associated with Crim but I feel it does have a slight relevance here)) this tune (ProjeKct X) is quite beautiful and a step in the right direction ("I WILL buy the ProjeKct X album" has been a mantra in my head for some months now). Further to this review I should like to point out that the album comes into it's own when the material is played live, the live album however does not (for me) capture the true feeling of that incredible evening when I saw King Crimson live for the first time ever it does however come with the Improv disc which has been in and out of my CD player like a thing that goes in and out of something a large number of times. That's my two cents (pence, whatever your currency of choice) for those that feel the urge to peruse them."


Date Submitted: 26-Jun-01
By: Brian Andrew Marek (bmarek at biz1 dot net)

"After some 15+ plus years as a raving and drooling King Crimson fan, it brings me great sorrow to report that "ConstruKction of Light" DOES NOT MOVE ME. And no, it's not because it's too different or too the same or any such analytical trivia; for when you really get down to it, your preferences in music come not from facts and figures but from the emotional connection (or lack thereof). Sure, there are some very cool riffs, sounds and effects strewn about the landscape of this CD - but I feel no resonance, no poignancy, no - as I said above - emotional connection.

"But leaving the gut-level issues aside, here's a more tangible thing that has disappointed me... There's something very unsatisfying about the arrangements of these songs. In fact, they seem like long sessions of extremely convoluted, complicated sex that don't result in an orgasm. "Tension and release" is a phrase I've often used in connection with the music of King Crimson, but the feeling on this album is more like "tension and a gradual easing of tension"... in other words, no big bang. No orgasm. No drama. Blah.

"And on the ONE TRACK that seems to hold the promise of an ecstatic - or apocalyptic - release ("I Had A Dream"), Adrian pens some of the most dreadfully cliche-riddled laundry-list poetry and totally cheapens the effect. Stringing together a list of cultural milestones isn't particularly profound, innovative, or moving... it's all too reminiscent of Billy Joel's "We Didn't Start the Fire", and if King Crimson's going to rip off anybody, please let it be somebody more interesting than THAT old hack!

"It's not as if his other lyrics on the album are all that much better, though - what with the "I'm so clever" wordplay exercises (that "Oyter Soup" thingie) and self-referential attempted-topical pseudo-humor ("ProzaKc Blues"). "Into The Frying Pan" and title track are passable, I suppose, but that kinda success rate is only admirable in baseball batters...

"Well, there it is, the blunt assessment. I'm not trying to upset anybody, but these are my honest feelings of disappointment that had to be expressed..."


Date Submitted: 28-Aug-01
By: Thierry Costa (thierry.costa at us dot xacct dot com)

"Well, what can be added to all the reviews submitted at the time of the release of this recording, except a retrospective look at the album. Has it aged well?

"In anticipation of the next KC album release, I listened to my KC collection again. Studio as well as live releases.

"I thoroughly enjoyed listening to the classic 70s albums such as “Lark’s”, "Starless" and "Red" which remain in my mind, well, classics.

"Upon re-listening to the 80s Crimson, "Discipline" obviously left a classic aftertaste, although perhaps not as vintage as “Lark’s” or "Red". Much to my surprise, I enjoyed listening to "Three of a Perfect Pair" again, but I would not classify it as a classic, its more of a conclusion. "THRAK" was also another joy to listen to again. Its definitely a milestone in the evolution of KC.

"So what about "The ConstruKction Of Light"?

"Well, my personal belief is that, with time, it has deserved to be classified as a classic. Could even be ranked up there as a vintage Crimson with “Lark’s”, "Starless" and "Red". A must have, if you will, in any comprehensive KC collection.

"This album has definitely sustained the test of time, not that it needed to for me to like it, and, like a good bottle of wine, is getting better over time.

"Now, I definitely can't wait for the next studio recording. What should I do in the meantime? Listen to the whole collection again? Perhaps."


Date Submitted: 1-Aug-02
By: Chris Lawless (lawford42 at june dot com)

"In various different forms of literature, you often read about someone (or something) that occasionally makes its presence known in the world for a short time, sets the record straight in regards to whatever it is that needs straightening, and then disappears until such time as its presence is once again required. You could easily say the same about King Crimson, Robert Fripp's seminal progressive–rock outfit that is now in its fifth major incarnation.

"Having been somewhat conspicuously absent from the music scene since 1984, the band reappeared ten years later with a six track mini–album, and followed that with a full fledged release (and subsequent tour) in 1995 featuring a "double trio" of musicians: two guitarists, two bass/stick players, and two drummers. The subsequent break–up (for lack of a better term) led to a series of recordings featuring various different members of the double trio. Numerous different releases, both studio and live, were issued as well as a four–CD boxed–set. And now, after a few years of what has come to be expected silence, Fripp and company are once again back with a brand new and damn brilliant studio album called "The ConstruKction Of Light."

"Scaled back down to a quartet, King Crimson now consists of Fripp, long–term vocalist and guitarist Adrian Belew, bassist Trey Gunn, and drummer Pat Mastelotto. Unlike their previous studio offering, "Thrak," there seems to be a bit more of an overall cohesiveness and direction on "The ConstruKction Of Light." There are also more of the sounds and musical stylings one would expect to hear from a King Crimson project, but they have managed to push the boundaries of prog–rock even more than they ever have in the past and blurred the lines between genres.

"In particular, there are some gutsy guitar riffs that would, for all intents and purposes, work equally well on a heavy metal album. If you didn't know any better and just walked in on someone listening to the album for the first time, your might be inclined to ask what metal band had been listening to (and trying to imitate) King Crimson. And that is all right, because it is a bit of a trick to keep your trademark elements present while at the same time trying to explore new musical territory. But the bands pulls it off without a hitch, and have managed to give us some very interesting, sometimes delicate, sometimes harsh and abrasive, but generally speaking, very driving, music.

"Take some of the harder tracks on the album, such as "Larks' Tongues in Aspic Part IV," "FraKctured," or "The World's My Oyster Soup Kitchen Floor Wax Museum" (anyone have any doubts as to who came up with the lyrics?), and compare those to the delicate, guitar–picked staccato introspective of the title track, or even the electronica inspired "Heaven And Earth" by the band's experimental alter–existence ProjeKct X, and you will hear a few of the many musical side King Crimson has pioneered and continually redefined over the past thirty years.

"It is a safe bet to say that Fripp and company remain at the very top of their game, and will no doubt continue to reappear over the course of time to show everyone how things are done. It will be interesting if he sticks with this line–up for a while, too, because this particular combination of musicians has managed to not only put out a solid King Crimson album, but one of the best albums of the year, period. That alone speaks volumes as to their potential, and I will certainly be waiting to hear what they come up with next."


Date Submitted: 20-Aug-02
By: Warren Butson (Warren.Butson at getty-images dot com)

"Disappointed.
"I guess I'm losing touch with KC. I got into them as a result of being an ELP fan and discovered the first two albums which I thought were fantastic (apart from the devils triangle which to me was a bit of a drone). Liked bits of the John Wetton era and loved the band when Adrian belew came along.

"My problem is this. I am a Beatles fan and as a result have always been a fan of melody.
"KC despite being a band that pushes the borders of what can be done with musical instruments has to my mind always combined musical experimentation with melody.
"For every Devils triangle there's a cadence and cascade, for every larks tongue there's a Starless and foe every indiscipline there's a Thela hun Jinjeet. What I got with KC was great tunes but also hearing music I wouldn't automatically choose to listen to but I liked that as it takes me out of my comfort zone which we should all do in life.

"But the explosion of Projects and this new KC album have me lost.
"It has become a muso band first and foremost with melody I guess being consigned to old news/unchallenging, but I feel this is a big loss for me as Fripp and Belew are capable of writing top songs such as TOAPP, Model man, Dinosaur, one time, People etc which I just love cause they are great songs.
"I know people were complaining that Belew was taking over a bit but I always felt there was a healthy balance of tunes and experiment, but now I feel it's all gone up it's own arse.
"I appreciate that these guys are incredibly talented and are very good at proving it but surely this is why punk came along. Isn't it time to try the challenge of writing a top tune, that to me is more impressive than playing 400 miles an hour without any discernable point.
"Sorry guys, I realise I'm in the minority, but I thought I had to get it off my chest. You do what you want, I've always got the old records as Lennon said."


The ConstruKction Of Light

Date Submitted: 30-Jul-00
By: Vlad (that at black dot dn dot ua)

"Track #2 is the BOMB!!!"


FraKctured

Date Submitted: 3-Jun-00
By: Benoit Sanchez (sanchez at clipper dot ens dot fr)

"I like it very much. The very first measures are almost perfect with great intensity. The piece sounds like Fracture but the feeling is much different. One very new element: one of the main themes is played in a dreamy harmony which gives the song a new dimension. Fracture was just tension. FraKctured sometimes sounds like watching the clouds that passes in the sky. There's also a distorted movement with the kind of violence you might find in Thrak. In my opinion, this track alone, along with LTIA IV, was worth getting the album.

"Dans une large mesure inspiré de Fracture, ce morceau possède une atmosphère assez différente. Au lieu d'une tension dramatique en crescendo, on trouve ici une alternance entre un climat angoissant et tendu, et des passages très planants et aériens. Le travail à la basse est remarquable. On trouve également un mouvement rapide et violent dont le son est hérité de morceaux comme Track. La structure est très différente de celle de Fracture. J'aime beaucoup FraKctured mais je continue à préferer Fracture qui reste, pour moi, le meilleur moment dans tout Crimson."


Larks' Tongues In Aspic Part IV

Date Submitted: 3-Jun-00
By: Benoit Sanchez (sanchez at clipper dot ens dot fr)

"My favorite from the album. Very different from LTIA III. The first movement sounds like LTIA II, the second one like Red and Thrak. It's very powerfull, and quite violent on the first listening. The last solo is both brilliant and unusual to Crimson. The Coda fits in at the end of it, and is very well played.

"Voila qui rachète LTIA III qui était somme toute assez décevant (malgrès de très bonnes idées !). LTIA IV est à peu près irréprochable et dans l'ensemble, très fort et très prenant. Crimson y reprend des idées de Red et de LTIA II mais le morceau est quand même très nouveau. Mon passage préféré est le solo final, qui est à la fois parfait et original chez Crimson. La Coda "I have a Dream" trouve tout à fait sa place à la fin et rappelle un peu la puissante conclusion de Starless. Je recommande vivement l'album."
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